Claude Nicolas Ledoux embraced the principle of superimposing the classic column motifs on each floor, rising from simplest to the most complex: Tuscan, Doric, Ionic, Corinthian, etc. On 26 July 1764, in the Saint-Eustache Church, Paris, Ledoux married Marie Bureau, the daughter of a court musician. A friend from Champagne, Joseph Marin Masson de Courcelles, found him a position as the architect for the Water and Forestry Department. Here between 1764 and 1770 he worked on the renovation and designs of churches, bridges, wells, fountains and schools, in Tonnerrois, Sénonais and Bassigny. Among the still extant works from this period are the bridge
Doric order More often they used versions of the Tuscan order, elaborated for nationalistic reasons by Italian Renaissance writers, which is in effect a simplified Doric, with un-fluted columns and a simpler entablature with no triglyphs or guttae. The Doric order was much used in Greek Revival architecture from the 18th century onwards; often earlier Greek versions were used, with wider columns and no bases to them. Since at least Vitruvius it has been customary for writers to associate the Doric with masculine virtues (the Ionic representing the feminine). It is also normally the cheapest of the orders to use. When the