Portico in the context of "Pediments"

Greek temples (Ancient Greek: ναός, romanized: nāós, lit. 'dwelling', semantically distinct from Latin templum, "temple") were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread surviving building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfill the functions of a temple often continued to follow the local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco-Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition. Most Greek temples were oriented astronomically.

Between the 9th century BC and the 6th century BC, the ancient Greek temples developed from the small mud brick structures into double-porched monumental "peripteral" buildings with colonnade on all sides, often reaching more than 20 metres in height (not including the roof). Stylistically, they were governed by the regionally specific architectural orders. Whereas the distinction was originally between the Doric and Ionic orders, a third alternative arose in late 3rd century with the Corinthian order. A multitude of different ground plans were developed, each of which could be combined with the superstructure in the different orders. Temples would be destroyed due to warfare in the Greek World or from lack of repairs. Some of these temples such as the temple of Poseidon Soter (The Savior) would be rebuilt outside of Athens after the defeat of the Persian Empire in 449. From the 3rd century onward, the construction of large temples became less common; after a short 2nd century BC flourish, it ceased nearly entirely in the 1st century BC. Thereafter, only smaller structures were started, while older temples continued to be renovated or brought to completion if in an unfinished state.

A stoa (/ˈstoʊə/; plural, stoas, stoai, or stoae /ˈstoʊ.iː/), in ancient Greek architecture, is a covered walkway or portico, commonly for public use. Early stoas were open at the entrance with columns, usually of the Doric order, lining the side of a building; they created a safe, enveloping, protective atmosphere.

This, an "open-fronted shelter with a lean-to roof", is the meaning in modern usage, but in fact the ancient Greeks "made no clear distinction in their speech" between these and large enclosed rooms with similar functions.

In classical architecture, a colonnade is a long sequence of columns joined by their entablature, often free-standing, or part of a building. Paired or multiple pairs of columns are normally employed in a colonnade which can be straight or curved. The space enclosed may be covered or open. In St. Peter's Square in Rome, Bernini's great colonnade encloses a vast open elliptical space.

When in front of a building, screening the door (Latin porta), it is called a portico. When enclosing an open court, a peristyle. A portico may be more than one rank of columns deep, as at the Pantheon in Rome or the stoae of Ancient Greece.

An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. The three orders of architecture—the Doric, Ionic, and Corinthian—originated in Greece. To these the Romans added, in practice if not in name, the Tuscan, which they made simpler than Doric, and the Composite, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the mode or key of classical music; the grammar or rhetoric of a written composition. It is established by certain modules like the intervals of music, and it raises certain expectations in an audience attuned to its language.

Whereas the orders were essentially structural in Ancient Greek architecture, which made little use of the arch until its late period, in Roman architecture where the arch was often dominant, the orders became increasingly decorative elements except in porticos and similar uses. Columns shrank into half-columns emerging from walls or turned into pilasters. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the Italian Renaissance. Greek Revival architecture, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.

The porticoes of Bologna are an important cultural and architectural heritage of Bologna, Italy and represent a symbol of the city together with the numerous towers. No other city in the world has as many porticoes as Bologna: all together, they cover more than 38 kilometres (24 mi) only in the historic centre, but can reach up to 53 kilometres (33 mi) if those outside the medieval city walls are also considered.

On account of their cultural and artistic significance, in 2021 the porticoes of Bologna have been declared a UNESCO World Heritage Site.

The Rialto Bridge (Italian: Ponte di Rialto; Venetian: Ponte de Rialto) is the oldest of the four bridges spanning the Grand Canal in Venice, Italy. Connecting the sestieri (districts) of San Marco and San Polo, it has been rebuilt several times since its first construction as a pontoon bridge in 1173, and is now a significant tourist attraction in the city.

The present stone bridge is a single span designed by Antonio da Ponte. Construction began in 1588 and was completed in 1591. It is similar to the wooden bridge it succeeded. Two ramps lead up to a central portico. On either side of the portico, the covered ramps carry rows of shops. The engineering of the bridge was considered so audacious that architect Vincenzo Scamozzi predicted future ruin. The bridge has defied its critics to become one of the architectural icons, and top tourist attractions, in Venice.

Ancient Roman temples were among the most important buildings in Roman culture, and some of the richest buildings in Roman architecture, though only a few survive in any sort of complete state. Today they remain "the most obvious symbol of Roman architecture". Their construction and maintenance was a major part of ancient Roman religion, and all towns of any importance had at least one main temple, as well as smaller shrines. The main room (cella) housed the cult image of the deity to whom the temple was dedicated, and often a table for supplementary offerings or libations and a small altar for incense. Behind the cella was a room, or rooms, used by temple attendants for storage of equipment and offerings. The ordinary worshiper rarely entered the cella, and most public ceremonies were performed outside of the cella where the sacrificial altar was located, on the portico, with a crowd gathered in the temple precinct.

The most common architectural plan had a rectangular temple raised on a high podium, with a clear front with a portico at the top of steps, and a triangular pediment above columns. The sides and rear of the building had much less architectural emphasis, and typically no entrances. There were also circular plans, generally with columns all round, and outside Italy there were many compromises with traditional local styles. The Roman form of temple developed initially from Etruscan temples, themselves influenced by the Greeks, with subsequent heavy direct influence from Greece.

The Victor Emmanuel II National Monument (Italian: Monumento Nazionale a Vittorio Emanuele II), also known as the Vittoriano or for synecdoche Altare della Patria ("Altar of the Fatherland"), is a large national monument built between 1885 and 1935 to honour Victor Emmanuel II, the first king of a unified Italy, in Rome, Italy. It occupies a site between the Piazza Venezia and the Capitoline Hill. The monument was realized by Giuseppe Sacconi.

From an architectural perspective, it was conceived as a modern forum, an agora on three levels connected by stairways and dominated by a portico characterized by a colonnade. The complex process of national unity and liberation from foreign domination carried out by King Victor Emmanuel II of Savoy, to whom the monument is dedicated, has a great symbolic and representative value, being architecturally and artistically centred on the unification of Italy—for this reason the Vittoriano is considered one of the national symbols of Italy.