DOCSLIB.ORG

Theory of Architecture Lecture-2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theory of Architecture Lecture-2 Theory of Architecture Lecture-2- Renaissance and 19th century Architecture (Early 14th ,16th and 19th centuries) Prepared by L.Tara Azad Rauof This lecture Context: The Origins Characteristic of Renaissance Architecture Renaissance principles Phases of Renaissance Architecture Lasting Influences of Renaissance Architects Famous Renaissance Architects 19th Century Architecture Famous 19th Century Buildings and Architects The Origins of Renaissance: * Early 14th and early 16th centuries in Italy: a new age began named The Renaissance Age and spread throughout Europe. * This "age of "awakening" in Italy and northern Europe became known as the Renaissance, which means a new born in French. * In Italy, the Renaissance flourished with artists of innumerable talents. * The Renaissance in European history left behind the Gothic era—it was a new way for writers, artists, and architects to look at the world after the middle Ages. * In Britain it was the time of William Shakespeare, a writer who seemed to be interested in everything—art, love, history, and tragedy. * Before the dawn of the Renaissance, Europe was dominated by asymmetrical and ornate Gothic architecture. During the Renaissance, architects were inspired by the highly symmetrical and carefully proportioned buildings of Classical Greece and Rome. * The transformation from medieval centuries beginnings of industrial revolution, considered as the flourishment of arts, literature, and scientific inventions, so called the Renaissance age. Characteristic of Renaissance Architecture: *Revival of Classical ideas of ancient Greece and Rome in the period of roughly 1400 to 1600 AD. * The Renaissance style places emphasis on Symmetry, Proportion, Geometry and regularity of parts as demonstrated in the architectural of antiquity and particular ancient Roman architecture. * The Renaissance style replaced the more complex proportional systems and irregular profiles of medieval buildings. * Symmetrical arrangement of windows and doors * Extensive use of columns of the Classical orders and pilasters. * Triangular pediments * Square lintels * Semicircular arches * Hemispherical domes * Niches with sculptures * The influence of Renaissance architecture is still felt today in the more contemporary home. Consider the common Palladian architecture originated in Italy during the Renaissance. Renaissance principles The scientific movement impacted on architecture, depending on important principles, such as: 1- Depending on proportions, mathematical, and geometrical theories especially phythagorthian proportion to approve the fixed ratio in architecture. 2- Depending on the human body ratios as the keynote of optimum proportions. 3- Depending on the aesthetic principles, which its roots returned to Plato, and Aristotle, when they claimed that the beauty is the pleasing characteristics of things. Phases of Renaissance Architecture: 1- Early phase of Renaissance: Artists in northern Italy were exploring new ideas for centuries before the period we call the Renaissance. During the early 1400s, Florence, Italy is often considered the center of Early Italian Renaissance., the painter and architect Filippo Brunelleschi (1377-1446) designed the great Duomo (cathedral) dome of Florence (c. 1436), so innovative in design and construction that even today it's called Brunelleschi's Dome. The Ospedale degli Innocenti (c. 1445), a children's hospital also in Florence, Italy, was one of Brunelleschi's first designs. Brunelleschi also rediscovered the principles of linear perspective, which examined further and documented by Leon Battista Alberti (1404-1472). 2- High Renaissance: What is called the "High Renaissance" was dominated by the works of Leonardo da Vinci (1452-1519) and the young upstart Michelangelo Buonarroti (1475-1564). These artists built on the works of those who came before them, extending a classical brilliance that is admired to this day. Leonardo, famous for his paintings of The Last Supper and the Mona Lisa, continued the tradition of what we call the "Renaissance Man." His notebooks of inventions and geometrical sketches, including the Vitruvian Man, remain iconic. As an urban planner, like the ancient Romans before him, da Vinci spent his last years in France, planning a Utopian city for the King. During the 1500s, the great Renaissance master, the radical Michelangelo Buonarroti, painted the ceiling of the Sistine Chapel and designed the dome for St. Peter's Basilica in the Vatican. Michelangelo's most recognizable sculptures are arguably the Pieta and the grand 17-foot marble statue of David. The Renaissance in Europe was a time when art and architecture was inseparable and the skills and talents of a single man could change the course of culture. Lasting Influences of Renaissance Architects: A Classical approach to architecture spread through Europe, thanks to books by two important Renaissance architects. 1- Originally printed in 1562, Canon of the Five Orders of Architecture by Giacomo da Vignola (1507-1573) was a practical textbook for the 16th century builder. It was a "how-to" pictorial description for building with different types of Greek and Roman columns. As an architect Vignola had a hand in St. Peter's Basilica and the Palazzo Farnese in Rome, Villa Farnese, and other large country estates for the Catholic elite of Rome. Like other Renaissance architects of his time, Vignola designed with balusters, which became known as banisters in the 20th and 21st centuries—our stairway safety is really an idea from the Renaissance. 2- Originally published in 1570, The Four Books of Architecture by Andrea Palladio (1508-1580) not only described the five Classical Orders, but also showed with floor plans and elevation drawings how to apply the Classical elements to houses, bridges, and basilicas. In the fourth book, Palladio examines real Roman temples—local architecture like the Pantheon in Rome was deconstructed and illustrated in what continues to be a textbook of Classical design. Andrea Palladio's architecture from the 1500s still stands as some of the finest examples of Renaissance design and construction. Long after the Renaissance period ended, however, architects were inspired by Renaissance ideas. Thomas Jefferson was influenced by Palladio and modeled his own home at Monticello on Palladio's La Rotonda. At the turn of the twentieth century, American architects like Richard Morris Hunt designed grand style homes that resembled palaces and villas from Renaissance Italy. If the Renaissance of Classical designs had not happened in the 15th and 16th centuries, would we know anything of ancient Greek and Roman architecture? Maybe NOT, but the Renaissance sure makes it easier. Famous Renaissance Architects: 1- Filippo Brunelleschi 2- Leon Battista Alberti 3- Andrea Palladio Filippo Brunelleschi Filippo Brunelleschi (1377 –1446) was an Italian architect and designer, recognized to be the first modern engineer, planner and sole construction supervisor. He was considered to be a founding father of Renaissance architecture. He is most famous for designing the dome of the Florence Cathedral, a feat of engineering that had not been accomplished since antiquity, as well as the development of the mathematical technique of linear perspective in art which governed pictorial depictions of space until the late 19th century and influenced the rise of modern science. His accomplishments also include other architectural works, sculpture, mathematics and engineering. His surviving works can be found in Florence, Italy. Projects: * The dome of the Florence Cathedral. Leon Battista Alberti Leon Battista Alberti (1404 –1472) was an Italian author, poet, linguist, architect, philosopher, cryptographer, and general Renaissance polymath. The son of an extremely wealthy family in Florence, Italy. His focus on ancient Greece and Rome led him to study the Classical architectural orders. In particular, he obsessed over Vitruvius' De Architectura, the only surviving work of the great Roman architectural theorist. The new conception of Architecture by Alberti is his description of a building [the product of thought] as a form of body [the product of Nature] which like any other consists of lineaments and matter. The intent and purpose of lineaments as he said: “lies in finding the correct, infallible way of joining and fitting together those lines and angles which define and enclose the surface of the building”. “Beauty” according to Alberti “is that reasoned harmony of all the parts within a body, so that nothing may be added, taken away, or altered but for the worse”. To give structure and decoration to facades, Alberti developed a clever system of classical pilasters and architraves which could be superimposed on any earlier smooth surface. Alberti used the name "ornamentum" ('decoration') for these architectural elements. Projects: * On the art of building in ten books Andrea Palladio Andrea Palladio is one of the giants of Venetian Renaissance architecture of the 16th century, based his designs on the values of Greek architecture, and the traditions of Roman architecture as outlined by Vitruvius. He is regarded as one of the greatest architects in the history of Western art, best known for his architectural theories were laid out in his treatise Quattro Libri dell Architettura (The Four Books of Architecture), which had a profound impact on building design throughout Europe and America. His style of architecture - a blend of Greek, Roman and Renaissance art, later known as Palladianism - accorded
Load more

Recommended publications
  • Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde
    87T" ACSA ANNUAL MEETING 125 Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde ELIZABETH C. ENGLISH University of Pennsylvania THE CONTEXT OF THE DEBATES BETWEEN Gogol and Nikolai Nadezhdin looked for ways for architecture to THE WESTERNIZERS AND THE SLAVOPHILES achieve unity out of diverse elements, such that it expressed the character of the nation and the spirit of its people (nnrodnost'). In the teaching of Modernism in architecture schools in the West, the Theories of art became inseparably linked to the hotly-debated historical canon has tended to ignore the influence ofprerevolutionary socio-political issues of nationalism, ethnicity and class in Russia. Russian culture on Soviet avant-garde architecture in favor of a "The history of any nation's architecture is tied in the closest manner heroic-reductionist perspective which attributes Russian theories to to the history of their own philosophy," wrote Mikhail Bykovskii, the reworking of western European precedents. In their written and Nikolai Dmitriev propounded Russia's equivalent of Laugier's manifestos, didn't the avantgarde artists and architects acknowledge primitive hut theory based on the izba, the Russian peasant's log hut. the influence of Italian Futurism and French Cubism? Imbued with Such writers as Apollinari Krasovskii, Pave1 Salmanovich and "revolutionary" fervor, hadn't they publicly rejected both the bour- Nikolai Sultanov called for "the transformation. of the useful into geois values of their predecessors and their own bourgeois pasts? the beautiful" in ways which could serve as a vehicle for social Until recently, such writings have beenacceptedlargelyat face value progress as well as satisfy a society's "spiritual requirements".' by Western architectural historians and theorists.
    [Show full text]
  • 1 Dataset Illustration
    1 Dataset Illustration The images are crawled from Wikimedia. Here we summary the names, index- ing pages and typical images for the 66-class architectural style dataset. Table 1: Summarization of the architectural style dataset. Url stands for the indexing page on Wikimedia. Name Typical images Achaemenid architecture American Foursquare architecture American craftsman style Ancient Egyptian architecture Art Deco architecture Art Nouveau architecture Baroque architecture Bauhaus architecture 1 Name Typical images Beaux-Arts architecture Byzantine architecture Chicago school architecture Colonial architecture Deconstructivism Edwardian architecture Georgian architecture Gothic architecture Greek Revival architecture International style Novelty 2 architecture Name Typical images Palladian architecture Postmodern architecture Queen Anne architecture Romanesque architecture Russian Revival architecture Tudor Revival architecture 2 Task Description 1. 10-class dataset. The ten datasets used in the classification tasks are American craftsman style, Baroque architecture, Chicago school architecture, Colonial architecture, Georgian architecture, Gothic architecture, Greek Revival architecture, Queen Anne architecture, Romanesque architecture and Russian Revival architecture. These styles have lower intra-class vari- ance and the images are mainly captured in frontal view. 2. 25-class dataset. Except for the ten datasets listed above, the other fifteen styles are Achaemenid architecture, American Foursquare architecture, Ancient Egyptian architecture,
    [Show full text]
  • National Historic Landmark Nomination Old San Juan
    NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Old San Juan Historic District/Distrito Histórico del Viejo San Juan Other Name/Site Number: Ciudad del Puerto Rico; San Juan de Puerto Rico; Viejo San Juan; Old San Juan; Ciudad Capital; Zona Histórica de San Juan; Casco Histórico de San Juan; Antiguo San Juan; San Juan Historic Zone 2. LOCATION Street & Number: Western corner of San Juan Islet. Roughly bounded by Not for publication: Calle de Norzagaray, Avenidas Muñoz Rivera and Ponce de León, Paseo de Covadonga and Calles J. A. Corretejer, Nilita Vientos Gastón, Recinto Sur, Calle de la Tanca and del Comercio. City/Town: San Juan Vicinity: State: Puerto Rico County: San Juan Code: 127 Zip Code: 00901 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): ___ Public-Local: X District: _X_ Public-State: X_ Site: ___ Public-Federal: _X_ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 699 128 buildings 16 6 sites 39 0 structures 7 19 objects 798 119 Total Number of Contributing Resources Previously Listed in the National Register: 772 Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form ((Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 2 United States Department of the Interior, National Park Service National Register of Historic Plaaces Registration Form 4.
    [Show full text]
  • Three Periods of English Architecture
    MBMTRAND SMITHS BOOK STORE M# PACIFIC A VENUS LONG BEACH. CALTP. THREE PERIODS OF <$> ENGLISH ARCHITECTURE. IMPORTED BY CHARLES SCRIBNER'S SONS, NEW YORK. THREE PERIODS^ OF ENGLISH ARC HITECTURE BY THOMAS HARRIS F R I B A- FSANI«$> B-T-BATSFORDf LONDON f 1 894 CHISWICK PRESS : —CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. PREFACE. the following pages much is advanced which may- INjustify the charge of lack of novelty. It is, however, the author's intention to be little more than " a gatherer and disposer of other men's stuff," his object being to advance the cause of architectural progress, not so much by enunciating his own views, as by showing how much has been said on the subject by others. This will explain the apparent abruptness of some of the quotations, they being, for the most part, introduced with little attempt at constructive arrangement, where they appeared to best elucidate the text, or to lend the authority of some well- known name to the proposition under consideration ; but they will be found to form a kind of thought mosaic, each one either helping to strengthen, or in some cases to tone down, the others with which it is connected. The progress herein alluded to has found many advo- cates at the Royal Institute of British Architects, and names of the highest repute are associated with it. Archi- tectural publications, both here and in America, have frequently given expression to the longing for relief from the bondage to which the profession has been so long subject, and from the delusions which have militated against the clear apprehension of the destiny of their art.
    [Show full text]
  • Neoclassical Architecture 1 Neoclassical Architecture
    Neoclassical architecture 1 Neoclassical architecture Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio. The Cathedral of Vilnius (1783), by Laurynas Gucevičius Origins Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility. Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque. Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Pulteney Bridge, Bath, England, by Robert Adam Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer.
    [Show full text]
  • Architecture & Design
    TIMELESS BEAUTY, PROPORTION AND VISION IN THE FOOTSTEPS OF ITALY’S MOST INFLUENTIAL ARCHITECT He had an unquenchable passion that inspired him to great achievements – and many others over the centuries would emulate his Palladian principles. Today, a unique embodiment of the renowned architect’s vision, a masterpiece unlike any other in America, stands in Newport Beach. PALLADIO’S LEGACY Andrea Palladio (1508-1580), the acclaimed architect of the High Renaissance and arguably Italy’s most influential architect ever, is celebrated for his churches, villas, palaces and other grand edifices in Northern Italy. Internationally heralded over the centuries, his architectural style – based on the classic building principles of ancient Rome and Greece – emphasizes perfect harmony with the natural landscape. While the modern-day concept of a resort property was unknown in Palladio’s day, the grand master would be impressed by the inspired adaptation of his Palladian style at The Resort at Pelican Hill®. Crisp lines, elegant proportions, classically-designed porticos, beauty combined with functionality, new yet timeless, residential yet grand – these are descriptions of Palladio’s work, shared by Pelican Hill. Appropriately, the Resort opened November 26, 2008 – virtually 500 years to the day of the birth in 1508 of Palladio. Palladio was only a youth when he dedicated himself to the study of architecture, becoming a disciple of Vitruvius, the first century-BC writer who chronicled Roman architecture and conducted continuous empirical research at ancient architectural sites. Palladio came to believe that the ancient Greeks and Romans had found a perfect union of geometry, measure and proportion in their architecture – qualities - more - Pelican Hill Architecture Page 2 and characteristics that mirrored the beauty found in nature and the human body.
    [Show full text]
  • HAMMOND-HARWOOD HOUSE ARCHITECTURAL TOUR Prepared by Sarah Benson March 2008
    HAMMOND-HARWOOD HOUSE ARCHITECTURAL TOUR Prepared by Sarah Benson March 2008 Major themes: their interests. Don’t be intimidated if * materials and methods of house building visitors know more about colonial * the status of the architect in colonial architecture than you do or if they are America themselves architects. Invite them to * the forms and meanings of Anglo- bring their expertise to bear on the tour. Palladian architecture in America and the power of the classical tradition Order of the tour: Gallery The tour materials include: EXTERIOR Narrative script p. 2 Maryland Avenue façade Outline version p. 30 Garden façade Important characters p. 37 SERVICE AREAS Glossary p. 37 Basement Bibliography p. 39 Kitchen FIRST FLOOR The narrative script will give you a full Best Bedchamber background for the tour, while the outline Study emphasizes the key points. Draw on the Passage narrative and your own experiences in Dining Room leading tours of the house to flesh out the Parlour outline. A bibliography directs you to Stair Passage further reading if there are topics you SECOND FLOOR wish to explore in greater depth. Stair Passage Study Chamber Your audience is likely to include people Upper Passage with a range of knowledge about colonial Northeast Chamber architecture. Visitors may or may not Gaming Room have heard of Andrea Palladio and may or Ballroom / Withdrawing Room may not have visited other colonial houses in the region. Draw them out to discover NARRATIVE SCRIPT INTRODUCTION GALLERY The house was begun in 1774 for MATTHIAS HAMMOND, a wealthy planter who also served in the Maryland state legislature.
    [Show full text]
  • 18Th Century: Archaeological Discoveries and the Emergence of Historicism
    18th Century: Archaeological discoveries and the emergence of historicism Rediscovery of the Temple of Isis at Pompeii (1765) Pietro Fabris -During the 18th century, Rome was still the center of cultural interchange (throughout the most productive phases of neo- classicism) in its richness of the antique ruins. -However, many new archaeological discoveries in different parts of Europe enabled architects to review the remains of classical architecture without visiting and staying extensively in Rome. -These archaeological discoveries revealed the fragments of the Greek and Roman cultures. -These fragments were now observable in an increasing number and range throughout the Mediterranean and the Near East. -These discoveries led the antiquities of the Greek and Roman cultures to be perceived widely beyond Greece and Italy. -There was an attitude of studying the antiquities with a renewed passion, because in one’s own town was an excellent remains of the classical culture. Emergence of Historicism -Interestingly, the 18th century was also the period in which an awareness of the plurality of architectural styles was first felt. -There were not only the classical architecture. -Architects now saw other styles of architecture: Egyptian, Islamic, Gothic, and even Chinese. Chinese Pavillion (after 1778) Val d’oise Cassan, France Recueil, title page survey of the history of architecture according to function (1800) J.N.L. Durand (1760-1834) Historicism -This cultural atmosphere gave rise to a unique attitude of history, which was called historicism, a degraded notion of history. -Historicism is an attitude in which one sees history with the lens of multiple styles to select -History appears as the inventory of available styles in which there was no reason to consider one style superior to another.
    [Show full text]
  • Republic Virtues in Architecture Thomas Jefferson's Use of Palladio
    THE NEW JERSEY ITALIAN AND ITALIAN AMERICAN HERITAGE COMMISSION Republic Virtues in Architecture Thomas Jefferson's Use of Palladio Grade Level: 9-12 Can be adjusted to accommodate grades 6-8 Subject: Art / Architecture / United States History / World Languages Categories: Arts and Sciences / History and Society Standards: Please see page 7 of the lesson plan for complete standards alignment. Objectives: Students will be able to: 1. determine why Thomas Jefferson used Palladian architecture to exemplify the republican nature of the United States. 2. synthesize researched data and produce a cogent ratiocination. 3. articulate the symmetric parallels found in late eighteenth-century architecture, art, music and the Constitution. Abstract: Page 1 of 13 Copyright 2010 – New Jersey Italian and Italian American Heritage Commission U3-LP-001 Key Terms: Inter alia Latin Among other things Meritocracy Greek A system in which advancement is based on individual ability or achievement. Republican Latin Having the supreme power lying in the body of citizens entitled to vote for officers and representatives responsible to them or characteristic of such government Symmetry Greek Exact correspondence of form and constituent configuration on opposite sides of a dividing line or plane or about a center or an axis. Background: More than most of the Founders, Thomas Jefferson viewed the American Revolution, not only as a War for Independence or as an experiment in republican government, he considered it a dramatic and ongoing cultural and societal change in human history. To Jefferson, the United States stood as the Novus Ordo Seclorum-- the New World Order. Republicanism, to Jefferson, was more than just a form of government; it was a way of life.
    [Show full text]
  • Peircean Interpretation of Postmodern Architecture
    PEIRCEAN INTERPRETATION OF POSTMODERN ARCHITECTURE A Dissertation by IWAO TAKAHASHI Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Robert Warden Committee Members, Frances E. Downing Robert W. Burch Gregory F. Pappas Head of Department, Ward V. Wells December 2013 Major Subject: Architecture Copyright 2013 Iwao Takahashi ABSTRACT The influence of philosophy on architectural theory contributes to the formulation of architectural theory in the history of architecture. This relationship created the oscillation of architectural theory between rationalism and romanticism reflecting the woven tendency of philosophy such as enlightenment and counter-enlightenment movement. This dissertation research focuses on architectural language theory which maintains a tight relationship with the philosophy of language. Postmodern architecture during the period of the 1970s through 1980s is examined to determine meanings of architecture, and the language theory of architecture. It followed the philosophy of language originated from Ferdinand de Saussure who influenced theorists, and explicitly sign theorists influenced by Charles Sanders Peirce. This theoretical underpinning of language theory is questionable because of an inappropriate application of the sign theory of Charles Sanders Peirce in terms of principal interpretation of language structure, dyadic and triadic type of language. This research re-interprets the meaning of architecture during postmodern period along with Peirce’s semeiotic theory, and American Pragmatism that Peirce originally invented. The collection of evidence from architectural history and the influence from philosophy provides a conceptual sketch that the oscillation of theoretical tendency is the source of architectural creation.
    [Show full text]
  • Synagogues in Lithuania AM a C a T Al O G U E
    Synagogues in Lithuania AM A C A T al OGUE Aliza Cohen-Mushlin Sergey Kravtsov Vladimir Levin Giedrė Mickūnaitė Jurgita Šiaučiūnaitė-Verbickienė ? V i l n i us Academy of Arts Press, 2010 UDK 726(474.5)(06) Si91 Bet Tfila Research Unit Center for Jewish Art, Centre for Studies Vilnius Academy Vilnius Gediminas for Jewish Architecture Hebrew University of the Culture and History of Arts Technical University in Europe of Jerusalem of East European Jews Sponsors of the Catalogue Lithuanian State Science and Studies Foundation Ministry of Culture of the Republic of Lithuania The Cahnman Foundation Directorate for the Commemoration of the Millennium of Lithuania English language editor: Doron Narkiss Vilnius Academy of Arts Press, 2010 [email protected] Center for Jewish Art, Hebrew University of Jerusalem Centre for Studies of the Culture and History of East European Jews Design and layout: Rasa Janulevičiūtė Vilnius Academy of Arts All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, no part of this book may be reproduced in any form by any means without written ISBN 978-9955-854-60-9 permission from the publisher. Content 6 Contributors 75 Alanta 183 Kalvarija קאַלוואַריע אַלונטע 8 Acknowledgements 81 Alsėdžiai 197 Kaunas קאָוונע אָלשאַד Preface 9 15 Vladimir Levin 87 Alytus 241 Kėdainiai קיידאַן אַליטע :Synagogues in Lithuania A Historical Overview 97 Anykščiai 259 Klaipėda מעמל אַניקשט Sergey R. Kravtsov 41 Synagogue Architecture in Lithuania 107 Balbieriškis 265 Krekenava קראַקינאָווע באַלבירישאָק 334 Abbreviations 115 Biržai 273 Kupiškis קופּישאָק בירז 123 Čekiškė 281 Kurkliai קורקלע צײקישאָק 133 Daugai 287 Laukuva לויקעווע דויג 140 Eišiškės 293 Lazdijai לאַזדיי איישישאָק 149 Jonava 299 Linkuva לינקעווע יאַנעווע 159 Joniškėlis 307 Lygumai ליגעם יאָנישקעל 165 Joniškis 313 Marijampolė מאַריאַמפּאָל יאַנישאָק 177 Kaltinėnai 329 Merkinė מערעטש קאַלטינאַן Synagogue Architecture in Lithuania Sergey R.
    [Show full text]
  • History of Architecture: Chapters XX-XXVIII
    vii TABLE OF CONTENTS. PAGE PRELIMINARY MATERIAL (separate file) MEDIEVAL AND EARLIER ARCHITECTURE: CHAPTERS I–XIX, WITH FIGURES 1–157 (separate file) LIST OF ILLUSTRATIONS (Figures 158–229) xi CHAPTER XX. EARLY RENAISSANCE ARCHITECTURE IN ITALY 270 CHAPTER XXI. RENAISSANCE ARCHITECTURE IN ITALY—THE ADVANCED RENAISSANCE AND 288 DECLINE CHAPTER XXII. RENAISSANCE ARCHITECTURE IN FRANCE 308 CHAPTER XXIII. RENAISSANCE ARCHITECTURE IN GREAT BRITAIN AND THE NETHERLANDS 326 CHAPTER XXIV. RENAISSANCE ARCHITECTURE IN GERMANY, SPAIN, AND PORTUGAL 338 CHAPTER XXV. THE CLASSIC REVIVALS IN EUROPE 354 x CHAPTER XXVI. RECENT ARCHITECTURE IN EUROPE 368 CHAPTER XXVII. ARCHITECTURE IN THE UNITED STATES 383 CHAPTER XXVIII. ORIENTAL ARCHITECTURE—INDIA, CHINA, AND JAPAN 401 APPENDIX 417 GLOSSARY 429 INDEX OF ARCHITECTS 431 INDEX 435 xi LIST OF ILLUSTRATIONS. A few illustrations include links to larger versions. In the printed book, Figures 182, 222, 223 and 229 were cropped to L- or J-shapes. The background (plain sky) has been artificially restored for symmetry. The border around Figure 224 is in the original. THE authorship of the original drawings is indicated by the initials affixed: A. = drawings by the author; B. = H. W. Buemming; Bn. = H. D. Bultman; Ch. = Château, L’Architecture en France; G. = drawings adapted from Gwilt’s Encyclopædia of Architecture; L. = Lübke’s Geschichte der Architektur; W. = A. E. Weidinger. All other illustrations are from photographs. PAGE FRONTISPIECE. The Parthenon Restored (from model in Metropolitan Museum, New York) Figures 1–157 (separate file) 158 Capital, Palazzo Zorzi, Venice 275 159 Section of Dome, Duomo of Florence (Bn.) 276 160 Exterior of Dome, Duomo of Florence 277 161 Interior of S.
    [Show full text]