The plainest of all orders: smooth unfluted shaft, simple torus base, no ornament on capital. Derived from Etruscan temples, it conveys strength through austerity — used for fortifications, military buildings, and utilitarian structures.

The oldest and sturdiest of the Greek orders. No base — the column rises directly from the stylobate. Characterized by 20 sharp-edged flutes, an echinus (cushion) capital, and a frieze of alternating triglyphs and metopes. Used for temples of masculine deities — Hephaestus, Poseidon, Heracles.

The middle order: more slender and elegant than the Doric, identified by its distinctive scroll-shaped volutes on the capital. Has a base of alternating convex torus moldings and concave scotiae. 24 flutes separated by flat fillets. Associated with intellectual and feminine qualities — used for temples of Athena, Artemis, Dionysus.

The most ornate of the Greek orders, invented (according to legend) when the architect Callimachus saw an acanthus plant growing around a basket. The elaborate capital features two rows of acanthus leaves with eight small volutes. Slenderest proportions — 10:1 height-to-diameter — conveying luxury and femininity. Rome's favorite order.

A Roman invention, described by Vitruvius: the Composite combines the large Ionic volutes with the acanthus leaves of the Corinthian, creating the most complex capital of all. Used on the Arch of Titus in Rome (82 CE) and widely favored in Imperial Roman architecture as the grandest possible statement of power and sophistication.