Doric Ionic Corinthian Columns

Short answer

• Doric, Ionic and Corinthian columns are the three classical Greek orders, and the fastest way to tell them apart is to look at the capital, the decorated top of the column. A Doric capital is plain, with a rounded cushion called an echinus under a square slab called an abacus, and the Greek Doric column has no base. An Ionic capital has a pair of scrolls called volutes, and the column stands on a molded base. A Corinthian capital is covered in carved acanthus leaves with small scrolls, and it is the tallest and most ornate of the three. In rough proportion, a Doric column stands about four to eight times its lower diameter in height, an Ionic order about nine times, and a Corinthian column about ten times. The Parthenon in Athens is the most famous Doric temple, the Erechtheion on the same hill shows Ionic work at its finest, and the Corinthian capital, rare as an exterior feature in early Greek work, became a Roman favorite and then a staple of later classical revival building.

What an Order Actually Is

The word order can sound grander than it is. In classical architecture, an order is a complete design system, not just a pretty column. Britannica defines an order as a style of classical or Neoclassical architecture defined by the particular type of column and entablature used as a basic unit. The column carries the load, or appears to carry it, and the entablature is the horizontal band it supports. Change the column and its entablature, and you change the character of the whole building.

That is why architects talk about orders rather than about columns alone. A Doric building does not simply borrow a Doric column and then do whatever it likes above it. Its frieze, its moldings and its proportions follow the same system. The same is true for Ionic and Corinthian work. Learning the orders is therefore learning a visual language. Once you know the vocabulary, you start noticing it everywhere, on temples, banks, museums, courthouses and house porches, just as Smarthistory puts it when it calls the classical orders the building blocks of Western architecture, used for about 2,500 years.

The system is older than the stone temples most people picture. Both the Doric and Ionic orders began in temples built of wood, according to Britannica, and the stone forms kept details that make more sense in timber. Smarthistory makes the same point in plainer terms: the classical orders are a decorative system laid over the oldest building system of all, post and lintel construction, in which vertical posts support a horizontal lintel. A Greek temple is that simple idea, refined over centuries until every joint, groove and molding carried meaning.

It helps to keep one distinction in mind from the start. People often say “Greek columns” as if the column were the whole story. In fact, the capital is the most distinguishing characteristic of an order, in Britannica’s words. Two columns can have similar shafts and still belong to different orders, because their capitals and their entablatures differ. If you remember nothing else from this article, remember this: start at the top.

The Anatomy of a Classical Column

Work from the ground up, and a classical column breaks into a small set of parts. At the bottom is the stylobate, the continuous flat pavement or platform on which a row of columns stands. On that platform sits the base, except in the Greek Doric order, where there is no separate base at all. Above the base rises the shaft, the long vertical cylinder of the column. Most classical shafts are fluted, which means they are carved with vertical grooves that catch light and shadow and make the column look taller and more alive than a smooth cylinder would. At the top of the shaft sits the capital, which gathers the weight of the entablature above and makes the visual transition from round shaft to flat beam.

Above the capital comes the entablature, and it too has three parts, from bottom to top: the architrave, the plain beam that rests directly on the capitals; the frieze, the decorated band above it; and the cornice, the projecting molding that crowns the whole and throws rainwater clear of the wall below. On a temple, the triangular pediment sits above the entablature at each short end, often filled with sculpture. Smarthistory notes a useful technicality here: the pediment is not officially part of the order, even though Greek temples so often carry one. It belongs to the roof and the temple plan, not to the column system itself.

Proportions in this system are measured in a simple unit: the diameter of the shaft at its base, called the lower diameter. When a book says a column is eight diameters high, it means the height is eight times that base diameter. That is how the orders can be compared fairly across buildings of very different sizes. A small garden temple and a great civic building can both be Doric, because what matters is the ratio, not the absolute size in meters.

Two refinements deserve mention because they surprise first time visitors. The first is entasis, the slight swelling of a Greek column shaft. Smarthistory explains that Doric shafts swell a little toward the center, reaching their widest point about a third of the way from the base, then tapering more noticeably toward the top. The column is therefore not a straight cylinder. The swelling gives the shaft a sense of elasticity, as if it were bearing weight, and it makes the column look taller than a strictly parallel sided shaft would. The second refinement is that Greek stone columns were usually built from stacked drums, not carved from a single block. Each drum had to be cut individually, which is one reason these refinements were expensive to achieve.

How to Tell Them Apart at a Glance

If you are standing in front of a building and want a quick identification, work through three checks in this order.

First, look at the capital. A plain capital with a rounded cushion and a square slab is Doric. A capital with two scrolls curling outward is Ionic. A capital that looks like a basket of leaves, with layered acanthus foliage and small scrolls near the top, is Corinthian. This single check settles most cases.

Second, look at the base. A Greek Doric column rises straight from the platform with no base. Ionic and Corinthian columns both stand on a molded base. So a column with no base and a plain capital is Doric, while a column with a base and scrolls is Ionic, and a column with a base and leaves is Corinthian.

Third, look at the frieze, the band above the architrave. A Doric frieze alternates triglyphs, blocks carved with three vertical bands, with metopes, square panels that may be plain or carved with relief sculpture. An Ionic frieze is usually a continuous band of carved ornament, with no triglyph and metope rhythm. A Corinthian entablature follows the Ionic pattern in this respect, which is one reason the Corinthian order is sometimes described as an Ionic entablature carrying a different capital.

The comparison table below gathers the same points for reference. Treat the height figures as typical classical proportions, not as rules every ancient builder obeyed. Britannica gives the Doric height as a range, about four to eight lower diameters, and ancient and later examples vary around the Ionic and Corinthian figures too.

The Doric Order: Strength and Simplicity

The Doric order is the oldest of the three in its developed form, and the most severe. Smarthistory introduces it as the oldest, the most severe, and, in the account of the Roman writer Vitruvius, the order associated with masculine form. Britannica dates its beginnings to the Greek mainland, with the two orders, Doric and Ionic, arising nearly simultaneously on opposite shores of the Aegean, the Doric on the mainland and the Ionic in the Greek cities of Asia Minor. Smarthistory places the start of the Doric order in the 7th century BCE on the Greek mainland. Britannica names the Temple of Hera at Olympia, built soon after 600 BCE, as the earliest well preserved example of Doric architecture.

A Greek Doric column has no individual base. It stands directly on the stylobate, which gives the whole colonnade a grounded, almost planted look. The shaft is channeled with 20 shallow flutes, and in Britannica’s description the flutes are shallow scallops rather than deep cuts, so the shaft reads as a solid mass with vertical rhythm rather than as a deeply grooved surface. The capital, from bottom to top, is a necking marked off from the shaft by narrow grooves, a spreading convex echinus, and a square abacus that carries the architrave. Nothing curls, nothing sprouts leaves, and nothing distracts from the plain geometry.

The Doric frieze is just as disciplined. Triglyphs project from the surface, each made of three vertical bands separated by grooves, and they alternate with metopes, square panels that may be left plain or carved with sculpted reliefs. Smarthistory suggests that triglyphs probably recall an earlier timber age, when the ends of wooden beams would have shown in the same positions, each aligned over a column. Whether or not every triglyph began that way, the rhythm is unmistakable once you have seen it: three bars, a panel, three bars, a panel, running the length of the building.

Doric remained the chief order for monumental building in Greece, Sicily and southern Italy for centuries after its beginnings, according to Britannica. Its fullest expression is the Parthenon in Athens, the temple Smarthistory calls the most famous Doric temple, on the Acropolis. The Parthenon is also the place to see entasis and other optical refinements at their most deliberate. Its columns are not the simple cylinders a photograph suggests. They swell, taper and lean almost imperceptibly, corrections that make the building look straight and regular to the human eye. UNESCO records the Parthenon as the work of Iktinos and Kallikrates, with the collaboration of the sculptor Pheidias, built in 447-432 BCE, as part of the great 5th century BCE building program on the Acropolis under the statesman Perikles.

The Roman version of Doric is a related but different thing, and it is worth learning to spot. Britannica notes that Roman Doric forms have smaller proportions and appear lighter and more graceful than their Greek counterparts, and that later Doric forms were frequently given a conventional base of plinth and torus molding, even though the Greek form has none. So a Doric looking column with a base is not necessarily a mistake or a different order. It may be Roman Doric, or a later revival working from Roman rather than Greek models.

The Ionic Order: Grace and the Scroll

The Ionic order takes its name from Ionia, the coastal region of Asia Minor where Greek cities developed it. Smarthistory, in its fuller text version, dates the development of the Ionic order in Ionia to the mid 6th century BCE, with transmission to mainland Greece by the 5th century BCE. Where Doric is broad and heavy, Ionic is taller and thinner. Vitruvius, again, saw it as the more feminine order, a comparison that tells us more about Roman ideas of proportion than about any rule of nature, but it captures the visual contrast well: Doric presses down, Ionic rises.

The capital is the giveaway. Instead of a plain cushion, the Ionic capital carries volutes, scrolls that droop over the front and rear of the echinus. Britannica adds that the echinus itself is carved with an egg and dart motif, a repeating pattern of egg shapes alternating with dart or arrow shapes, and that the architrave is usually made of three stepped bands called fasciae. Below the capital, everything changes from Doric practice. The column stands on a base, in Britannica’s account two convex moldings called tori separated by a concave scotia. The shaft, eight lower diameters high, carries 24 flutes, more than the Doric 20, and the whole order, column plus base, capital and entablature, measures nine lower diameters in height.

The frieze changes too. With no triglyph and metope system to interrupt it, the Ionic frieze can hold a continuous band of carved ornament, such as figural groups. That freedom matters for the look of an Ionic building. Where a Doric frieze marches in a strict beat, an Ionic frieze can flow, telling a story or winding a procession along the wall without breaking into panels.

The classic Ionic example is the Erechtheion on the Acropolis in Athens, the building Smarthistory turns to immediately after Doric. Its north porch carries the Ionic capital in its most delicate form. UNESCO dates the Erechtheion to 421-406 BCE, within the same 5th century BCE Acropolis program as the Parthenon, and lists it among the masterpieces of the site. Standing on the same hill, the two buildings teach the contrast better than any diagram: the Parthenon, Doric, broad and severe, and the Erechtheion, Ionic, slender, detailed and light. The gods and stories behind those temples belong to the wider world of Greek mythology, and the family relationships of the deities help explain why different temples on one hill could carry such different architectural characters.

Ionic influence also reached beyond Greece in ways that are easy to miss. Britannica notes that the volutes of the Ionic capital were adapted from Phoenician and Egyptian capital designs. The order was therefore not invented from nothing. It gathered older eastern Mediterranean ideas about scrolls and moldings and turned them into a consistent Greek system. Readers interested in the Egyptian side of that ancient exchange may find the story of Egypt’s Great Pyramid a useful reminder of how much earlier monumental stone building already was when the Greek orders took shape.

The Corinthian Order: Leaves, Scrolls and Roman Favor

The Corinthian order is the latest and the most elaborate of the three, and it is also the easiest to overstate. It is not a wholly new system. In its bones it is close to Ionic: it has a base, a fluted shaft and a continuous frieze. What is new is the capital, and the capital is spectacular enough to carry the whole order’s reputation.

Britannica describes the Corinthian capital as carved with two staggered rows of stylized acanthus leaves and four scrolls. The shaft has 24 sharp edged flutes, and the column is 10 diameters high, the tallest proportion of the three Greek orders. Smarthistory agrees on the essentials: the Corinthian capital is distinguished by leaf like shapes, the columns have bases, they tend to be taller than Doric, and they are highly decorative. It also makes a point beginners often miss: the Corinthian capital combines the scrolls you expect from Ionic with complex leaf forms from the acanthus plant. It is not leaves instead of scrolls. It is leaves plus scrolls, layered together.

The origin story is famous, and it should be told as a story, not as established fact. Smarthistory retells it with an honest warning: we have no idea whether it is true. A young girl died, her possessions were placed in a basket on her grave, and an acanthus plant growing underneath pushed its leaves out sideways around the heavy basket and its tile lid. The sculptor Callimachus, so the story goes, saw the basket wrapped in leaves and turned the shape into a capital. Vitruvius is the ancient source for the Callimachus account, and Britannica notes that the Greeks and Romans regarded the Corinthian at first as only a variant capital to be substituted for the Ionic, not as a full order in its own right. It was Vitruvius, the 1st century BCE Roman writer and architect, who raised the Corinthian to the rank of an order.

Archaeology gives a more cautious timeline than the legend. Smarthistory’s fuller text records that the earliest known Corinthian capital comes from the Temple of Apollo Epicurius at Bassae and dates to about 427 BCE. Britannica adds a different milestone: the first known use of a Corinthian capital on the outside of a building is the choragic Monument of Lysicrates in Athens, dated 335/334 BCE. The gap between those two dates is the point. A capital can exist inside a building, in a less prominent position, long before architects trust it on the exterior, where the whole order is on show. Corinthian was therefore a slow arrival in Greek architecture, not a sudden invention that swept the Greek world.

It was Rome that made Corinthian the star. Britannica records that the Greeks developed Doric and Ionic together with a third, Corinthian, capital, and that the Romans adopted all three, with modifications, in the 1st century BCE, using them ever since in Western architecture in one revival or another. The Romans favored the ornate capital for monumental public building, and the Pantheon in Rome is the example to carry in mind. Britannica describes the Pantheon, begun in 27 BCE by Marcus Vipsanius Agrippa and completely rebuilt by the emperor Hadrian sometime between AD 118 and 128, as a circular concrete building with a front porch of Corinthian columns supporting a gabled roof with a triangular pediment. Anyone planning time in Rome can pair that porch with the wider city in day trips from Rome, and the Roman habit of adapting Greek forms runs through ancient Roman art as well as through its architecture.

Athens itself offers a Corinthian counterpoint to the Acropolis walk. The Temple of Olympian Zeus in Athens was a vast project completed over centuries, and its towering Corinthian columns show what the order becomes when it is used at monumental scale rather than as a single interior accent. The contrast with the Parthenon is instructive: Doric restraint on the Acropolis hill, Corinthian exuberance in the great temple below it.

The Roman Additions: Tuscan and Composite

Strictly speaking, there are five major orders, not three. Britannica lists Doric, Ionic, Corinthian, Tuscan and Composite, and the last two are Roman additions. They matter for identification, because a column that looks almost Doric or almost Corinthian may in fact be one of these Roman variants.

The Tuscan order is a Roman adaptation of Doric. It has an unfluted shaft and a simple echinus and abacus capital, and its column is seven diameters high. It is plainer than Greek Doric and, in Britannica’s phrase, the most solid in appearance of all the orders. If you see a sturdy, unfluted column with a very plain capital on a Roman or revival building, Tuscan is a strong candidate.

The Composite order is a late Roman development of Corinthian. Its capital combines Ionic volutes with Corinthian acanthus leaf decoration, and its column is 10 diameters high, the same height as Corinthian. It was not ranked as a separate order until the Renaissance, according to Britannica, which is a useful reminder that the neat list of five orders is partly a later classification, not a set of labels the earliest builders all used.

Rome also changed how orders were combined. Britannica describes the superposed order: when columns adorned several successive stories of a building, they were normally of different orders, in an ascending sequence from heaviest to most slender. Doric went on the ground floor, Ionic on the middle story, and Corinthian or Composite on the top story. The sequence tells a visual story as the eye climbs: weight at the bottom, lightness at the top. Renaissance architects later invented the colossal order, columns extending the height of two or more stories, to avoid the complications of a separate order for every floor, but the stacked sequence remains one of the clearest Roman ideas to look for on multi story classical facades.

From Rome to Revival: Why the Orders Never Went Away

The orders survived Rome because Vitruvius survived. Britannica notes that Vitruvius was the only ancient Greek or Roman writer on architecture whose works survived the Middle Ages, and that when his handbook De architectura was rediscovered in the early 15th century, he was at once hailed as the authority on classical architecture. Italian architects of the Renaissance and Baroque periods built an aesthetic canon on his writings, laying down rules for superposing the orders and for the proportions of every part, down to the smallest members. The rules were carried, in Britannica’s words, to lengths undreamed of by the Greeks and rarely observed by the Romans. That is an important qualification. Renaissance classical building is not a photograph of ancient practice. It is a system built from a Roman book, applied with Renaissance thoroughness.

The later history is a series of revivals rather than a single unbroken tradition. Renaissance architecture took up the orders again as a deliberate return to antiquity, and Neoclassical building in the 18th and 19th centuries did the same, for civic buildings, museums, banks and monuments that wanted to borrow the authority of the ancient world. The orders also appear, in simplified form, on ordinary houses: a porch with Doric looking columns, a doorway framed by Ionic pilasters, a garden feature crowned with Corinthian leaves. In the 20th century, Modernist architecture moved away from the orders as structural ornament, since steel and reinforced concrete columns and piers had taken over the structural work, in Britannica’s account. The orders did not vanish. They passed from everyday structural use into a vocabulary that architects could quote, simplify or deliberately reject.

That long afterlife is also why medieval building makes such a useful contrast. Architecture in the medieval period developed its own systems, pointed arches, ribbed vaults and very different ideas about height and light, rather than working within the Greek orders. Later builders who wanted a classical look therefore had to relearn the orders from Roman and Renaissance sources, not from the buildings going up around them. The same contrast runs in the other direction too: where medieval builders raised defensive stonework, the parts of a building served war and shelter first, a subject covered in parts of a castle, while a classical temple colonnade served display, ritual and civic pride first, even when it also held up a heavy stone roof.

Where Each Order Appears Today

A practical way to remember the orders is to attach each one to the kind of building that still uses it most.

Doric appears where a building wants to look solid, honest and unadorned: war memorials, banks, courthouses, museums with temple fronts, and plain house porches. Its lack of a base and its triglyph frieze read as discipline. If the building is trying to say “trust us, we do not decorate the truth,” Doric is the natural choice.

Ionic appears where a building wants grace without excess: libraries, universities, civic halls and elegant houses. Its scrolls give it a finished, crafted quality, and its continuous frieze gives sculptors room to work without the strict beat of triglyphs. If the building is trying to say “learning and civic life, handled with care,” Ionic fits.

Corinthian appears where a building wants grandeur and celebration: grand government buildings, opera houses, great churches, monuments and the most formal civic facades. Its leaves and scrolls catch light and shadow from a distance, which is why it works so well on tall, monumental columns. If the building is trying to say “this is an occasion,” Corinthian is the order that says it loudest.

None of this is a rule. Architects mix orders, simplify them, flatten columns into pilasters against a wall, and use a capital as decoration on a building that has no structural need for columns at all. The value of the three part test, capital, base, frieze, is that it still works on those simplified cases. A pilaster with acanthus leaves is still quoting Corinthian, even if it holds up nothing but its own entablature band.

For visitors, Athens remains the best classroom, because the Acropolis gathers the story in one place. UNESCO describes the Acropolis as the most striking and complete ancient Greek monumental complex still existing in our times, and its 5th century BCE program includes the Doric Parthenon, the Ionic Erechtheion and the small Temple of Athena Nike, together with the Propylaia, the monumental entrance. Walking that hill with the capital test in mind turns a set of ruins into a legible argument about proportion, character and civic pride. UNESCO also notes that the monuments have survived for almost twenty five centuries through wars, explosions, bombardments, fires, earthquakes, sackings and alterations, which is worth remembering when a column looks weathered. Survival, not perfection, is what you are looking at.

Common Mistakes, Cleared Up

The Parthenon and the Pantheon are not the same building, and the names are worth separating carefully. The Parthenon is the Doric temple on the Acropolis in Athens, built 447-432 BCE. The Pantheon is the Roman building in Rome, rebuilt under Hadrian in AD 118-128, with a Corinthian porch. One is Greek, one is Roman. One is a rectangular temple, the other a circular rotunda with a dome behind its porch. Confusing them is common, because the names sound alike and both are supreme examples of classical building, but their orders give them away at once.

Corinthian is not simply “fancy Ionic.” It shares the Ionic base and frieze pattern, but its capital is a different invention, with two rows of acanthus leaves and scrolls, and its proportion is taller. Calling every ornate capital Corinthian also misses the Composite order, which deliberately combines Ionic volutes with Corinthian leaves. If the capital has big, clear Ionic scrolls sitting on top of a full leafy basket, consider Composite before settling on Corinthian.

Doric does not always mean “no base.” Greek Doric has no base, but Roman Doric and many revival Doric columns do have a base. The capital and the frieze are better tests than the base alone. Likewise, fluting alone does not identify an order. All three orders flute their shafts, with 20 flutes for Doric and 24 for Ionic and Corinthian in the classical accounts. Count the flutes if you can, but check the capital first.

Finally, an order is not a guarantee of age. A Corinthian porch built last year is still Corinthian, in the revival sense, and a Doric porch on a 19th century bank is Neoclassical Doric, not ancient Doric. The orders are a language that can be spoken in any century. Dating a building takes the whole structure, its materials, its details and its documents, not the capital alone.

A Short Timeline

The dates below are the anchor points used in this article, not a complete history of every temple. They show the sequence: Doric and Ionic developing in the 7th and 6th centuries BCE, Corinthian arriving as a capital in the 5th century BCE and reaching building exteriors in the late 4th century BCE, Rome adopting and extending the system in the 1st century BCE, and the Renaissance reviving it from Vitruvius in the 15th century.

FAQ

What are Doric, Ionic and Corinthian columns?

They are the three classical Greek orders, complete design systems made up of a column and the entablature it supports. Doric is plain and sturdy with no base in its Greek form. Ionic is slender and graceful with scroll volutes on its capital and a molded base. Corinthian is tall and highly ornate, with a capital carved with acanthus leaves and small scrolls.

How can I tell Doric, Ionic and Corinthian columns apart quickly?

Look at the capital first. Plain cushion and square slab means Doric. A pair of scrolls means Ionic. A basket of acanthus leaves means Corinthian. Then check the base: Greek Doric has none, Ionic and Corinthian have one. Then check the frieze: Doric alternates triglyphs and metopes, while Ionic and Corinthian usually carry a continuous carved band.

Which order is the oldest?

Doric is the oldest in its developed form, beginning on the Greek mainland in the 7th century BCE, with the Temple of Hera at Olympia, built soon after 600 BCE, named by Britannica as the earliest well preserved Doric example. Ionic developed in Ionia in the mid 6th century BCE. Corinthian came last as a capital, with its earliest known example dating to about 427 BCE.

What is the difference between a Doric and an Ionic column?

A Greek Doric column has no base, 20 shallow flutes, a plain echinus and abacus capital, and a triglyph and metope frieze, with a height of about four to eight lower diameters. An Ionic column has a molded base, 24 flutes, a capital with volutes, a continuous frieze, and a taller, more slender proportion, with the whole order about nine lower diameters high.

Why is the Corinthian order so ornate?

Its capital is carved with two staggered rows of stylized acanthus leaves and four scrolls, in Britannica’s description, and its column is 10 diameters high, the tallest of the three. The Romans favored that richness for monumental public building, which is why Corinthian became the grandest order in later classical and Neoclassical architecture, even though it began as a variant capital in Greek work.

Did the Romans invent any orders of their own?

The Romans adopted the three Greek orders and added two of their own: Tuscan, a simplified, unfluted version of Doric, and Composite, which combines Ionic volutes with Corinthian acanthus leaves. They also developed the practice of stacking orders by story, with Doric at the bottom, Ionic in the middle, and Corinthian or Composite at the top.

Where can I see all three orders in one place?

Athens is the best single city. The Acropolis carries the Doric Parthenon and the Ionic Erechtheion, and the Monument of Lysicrates in Athens marks the first known exterior use of a Corinthian capital. Rome is the best place for the Roman story, above all the Corinthian porch of the Pantheon. Museums and Neoclassical civic buildings in many cities also display all three orders, often on a single facade or across neighboring buildings.

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Sources & references

• Encyclopaedia Britannica, "Order" (architecture): definition of an order, column and entablature parts, capital as the most distinguishing characteristic, Doric, Ionic, Corinthian, Tuscan and Composite proportions and flute counts, origins, Temple of Hera at Olympia, Monument of Lysicrates, Roman adoption and superposed orders, Vitruvius and Renaissance revival. https://www.britannica.com/technology/order-architecture
• Smarthistory, "Greek architectural orders": the three basic orders, post and lintel background, Doric as oldest and most severe, triglyphs and metopes, entasis and stacked column drums, Erechtheion as the Ionic example, Corinthian acanthus capital and the Callimachus basket story told as an unverified story, Roman inheritance of the orders. https://smarthistory.org/classical-orders-of-architecture-explained/
• UNESCO World Heritage Centre, "Acropolis, Athens": the Acropolis as the most striking and complete ancient Greek monumental complex still existing, the 5th century BCE building program under Perikles, and dates and architects for the Parthenon (447-432, Iktinos and Kallikrates with Pheidias), the Propylaia, the Temple of Athena Nike and the Erechtheion (421-406). https://whc.unesco.org/en/list/404
• Encyclopaedia Britannica, "Pantheon" (Rome): begun in 27 BCE by Marcus Vipsanius Agrippa, completely rebuilt by Hadrian between AD 118 and 128, with a front porch of Corinthian columns supporting a gabled roof with a triangular pediment. https://www.britannica.com/topic/Pantheon-building-Rome-Italy