Appendix D: Glossary Appendix D: Glossary
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The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
Gable Roof, Often Decorated Or Pierced in Victorian Houses
Part E Appendices Village of Maple Heritage Conservation District Plan 141 Appendix A: Glossary of Architectural Terms Italicised words are defined in other entries. ABA rhythm: a pattern of alternating bays. Other rhythms might be ABBA, or AABBAA, for example. Arcade: a running series of arches, supported on piers or columns. Arch: a curved structure over an opening, supported by mutual lateral pressure. Architrave: The lowest division of an entablature. Ashlar: Squared stone masonry laid in regular courses with fine joints. Balustrade: A parapet or guard consisting of balusters supporting a rail or coping. The stair rail on the open side of a household stair is a common example of a balustrade. Barge board: The board along the edge of a gable roof, often decorated or pierced in Victorian houses. Battlement: A notched parapet, like on a castle. Also called castellation. The notches are called embassures or crenelles, and the raised parts are called merlons. Bay: Divisions of a building marked by windows, pilasters, etc. An Ontario cottage with a centre door and windows on either side would be called a 3-bay house with an ABA rhythm. Bay window: A group of windows projecting beyond a main wall. Commonly with angled sides in the Victorian style, and rectangular in Edwardian. Bipartite: In two parts. Blind: An imitation opening on a solid wall is called blind. Thus a blind arch, a blind window, a blind arcade. Board-and-batten: Wood siding consisting of wide vertical boards, the joints of which are covered by narrow vertical strips, or battens. Bond: A pattern of bricklaying in a wall. -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
Lascarid Architecture
HANS BUCHWALD / STUTTGART LASCARID ARCHITECTURE With t,en plates After the Latin conquest of Constantinople in 1204 the Lascarid dynasty in Asia Minor, with its center initially in Nicaea, soon gained the political and military lead among the several Byzantine states which were formed on the territory of the former Byzantine empire. With only brief intervals it retained that lead throughout the period of the Latin control of Constantinople, and expanded its territorial possessions until eventually a number of Aegean islands and large parts of what is now northern Greece and Turkish Thrace were under its control. In 1261 Michael Paleologus, who had usurped the Lascarid throne only two years earlier and had become the de facto, if not the rightful heir to their empire, ended the Latin occupation of the capital, and initiated the revival and final high point of the Byzantine empire which is associated with the name of the dynasty he founded'. The artistic and cultural achievements of the Paleologue period are relatively well known, even though the qualities of Paleologue architecture. with its unusually rich repertoire of forms, have recently unjustifiably been down graded" If, as is so often the case, the political developments of the period are reflected in the arts, then the impetus of forms developed or conserved in Lascarid Asia Minor should be visible in the early monuments of Paleologue Constantinople. On the other hand, practically nothing was known until now concerning the architecture built under the Lascarids, and to my knowledge an attempt to determine its characteristics does not as yet exist. -
The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Open Muroya Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF HISTORY A COMPARISON OF NORMAN ARCHITECTURE IN THE KINGDOMS OF ENGLAND AND SICILY Mikito Muroya FALL 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in History with honors in History Reviewed and approved* by the following: Kathryn Salzer Assistant Professor of History Thesis Supervisor Mike Milligan Senior Lecturer in History Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This study offers a comparison of the differing architectural styles and forms in the Norman Kingdoms of Sicily and England, exploring what exactly differed, as well as attempting to determine why such differences exist in each area. In the Kingdom of England, the Normans largely imported their own forms from Normandy, incorporating little of the Anglo-Saxon architectural heritage. There are in fact examples of seemingly deliberate attempts to eliminate important Anglo-Saxon buildings and replace them with structures built along Norman lines. By contrast, in the Kingdom of Sicily, buildings erected after the arrival of the Normans feature a mix of styles, incorporating features of the earlier Islamic, Byzantine and local Italian Romanesque, as well as the Normans' own forms. It is difficult to say why such variance existed, but there are numerous possibilities. Some result from the way each state was formed: England had already existed as a kingdom when the Normans conquered the land and replaced the ruling class, while the Kingdom of Sicily was a creation of the Norman conquerors; furthermore, the length of time taken to complete the conquest contrasted greatly. -
1 Classical Architectural Vocabulary
Classical Architectural Vocabulary The five classical orders The five orders pictured to the left follow a specific architectural hierarchy. The ascending orders, pictured left to right, are: Tuscan, Doric, Ionic, Corinthian, and Composite. The Greeks only used the Doric, Ionic, and Corinthian; the Romans added the ‘bookend’ orders of the Tuscan and Composite. In classical architecture the selected architectural order for a building defined not only the columns but also the overall proportions of a building in regards to height. Although most temples used only one order, it was not uncommon in Roman architecture to mix orders on a building. For example, the Colosseum has three stacked orders: Doric on the ground, Ionic on the second level and Corinthian on the upper level. column In classical architecture, a cylindrical support consisting of a base (except in Greek Doric), shaft, and capital. It is a post, pillar or strut that supports a load along its longitudinal axis. The Architecture of A. Palladio in Four Books, Leoni (London) 1742, Book 1, plate 8. Doric order Ionic order Corinthian order The oldest and simplest of the five The classical order originated by the The slenderest and most ornate of the classical orders, developed in Greece in Ionian Greeks, characterized by its capital three Greek orders, characterized by a bell- the 7th century B.C. and later imitated with large volutes (scrolls), a fascinated shaped capital with volutes and two rows by the Romans. The Roman Doric is entablature, continuous frieze, usually of acanthus leaves, and with an elaborate characterized by sturdy proportions, a dentils in the cornice, and by its elegant cornice. -
Gothic Europe 12-15Th C
Gothic Europe 12-15th c. The term “Gothic” was popularized by the 16th c. artist and historian Giorgio Vasari who attributed the style to the Goths, Germanic invaders who had “destroyed” the classical civilization of the Roman empire. In it’s own day the Gothic style was simply called “modern art” or “The French style” Gothic Age: Historical Background • Widespread prosperity caused by warmer climate, technological advances such as the heavy plough, watermills and windmills, and population increase . • Development of cities. Although Europe remained rural, cities gained increasing prominence. They became centers of artistic patronage, fostering communal identity by public projects and ceremonies. • Guilds (professional associations) of scholars founded the first universities. A system of reasoned analysis known as scholasticism emerged from these universities, intent on reconciling Christian theology and Classical philosophy. • Age of cathedrals (Cathedral = a church that is the official seat of a bishop) • 11-13th c - The Crusades bring Islamic and Byzantine influences to Europe. • 14th c. - Black Death killing about one third of population in western Europe and devastating much of Europe’s economy. Europe About 1200 England and France were becoming strong nation-states while the Holy Roman Empire was weakened and ceased to be a significant power in the 13th c. French Gothic Architecture The Gothic style emerged in the Ile- de-France region (French royal domain around Paris) around 1140. It coincided with the emergence of the monarchy as a powerful centralizing force. Within 100 years, an estimate 2700 Gothic churches were built in the Ile-de-France alone. Abbot Suger, 1081-1151, French cleric and statesman, abbot of Saint- Denis from 1122, minister of kings Louis VI and Louis VII. -
San Michele in Foro Representative of Late Romanesque Architecture in Lucca
SAN MICHELE IN FORO REPRESENTATIVE OF LATE ROMANESQUE ARCHITECTURE IN LUCCA by Muriel Beatrice Wolverton A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1972. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head, of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Depa rtment The University of British Columbia Vancouver 8, Canada i ABSTRACT The phenomenal expansion of church building during the eleventh, twelfth and thirteenth centuries can be noted in Lucca as elsewhere. The power of the Benedictine Order and the Bishopric, the increase in wealth because of the silk industry as well as a prime position on the trade route between Italy and North Europe, and rivalries with Florence and Pisa,all promoted a flourishing of the arts in Lucca during the Romanesque period. An attempt has been made in this paper to draw attention to the architectural background in Lucca during the Romanesque period. The architecture appears to be divided into two phases. The first phase demonstrates a classic simplicity that appears to relate to the Early Christian basilical church with the possible intrusion of Lombard ideas. -
Romanesque & Gothic Architecture
European - Romanesque & Gothic Architecture | Sample answer The establishment of monasteries and the popularity of pilgrim routes contributed to the development of Romanesque architecture. Discuss this statement with reference to one named example of a Romanesque church or cathedral that you have studied. Refer in your answer to construction techniques, structure and layout. and Briefly describe and discuss one named example of Romanesque sculpture. Illustrate your answer. (2019 Q8) Romanesque means “roman-like”, and was an architectural movement characterised by rounded Roman arches and thick, heavy walls. It was common throughout Europe eleventh and twelfth centuries. One example of Romanesque architecture is St. Foy in Conques, southern France. Towards the eleventh century, there was widespread existential panic due to the turn of the millennium, and people turned to religion to comfort them in what they thought was the end of the world. When this, of course, didn’t happen, there was an emerging feeling of hope and optimism. This, in turn, strengthened the power of the church, and there was a growth in monasticism. Monasteries began housing relics of saints and martyrs brought back to Europe from the crusades. One example of such a relic can be found in the Church of St. Foy- the church is dedicated to St. Foy, and her relics are housed there along with a gold sculpture made in her likeness. In fact, the church is built on top of her tomb. The popularity of relics meant that many dedicated Christians went on long pilgrimages to visit them, believing that relics had healing powers. They created routes between monasteries- “pilgrimage roads”. -
The Rise of the Castellans and Medieval Architecture: Urbanism and Architectural Discourse in Twelfth-Century Burgundy
Peregrinations: Journal of Medieval Art and Architecture Volume 7 Issue 2 1-51 8-7-2020 The Rise of the Castellans and Medieval Architecture: Urbanism and Architectural Discourse in Twelfth-century Burgundy Gil Fishhof The Department of Art History, University of Haifa, Israel Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Fishhof, Gil. "The Rise of the Castellans and Medieval Architecture: Urbanism and Architectural Discourse in Twelfth-century Burgundy." Peregrinations: Journal of Medieval Art and Architecture 7, 2 (2020): 1-51. https://digital.kenyon.edu/perejournal/vol7/iss2/1 This Feature Article is brought to you for free and open access by Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Fishhof ____________________PEREGRINATIONS____________ JOURNAL OF MEDIEVAL ART AND ARCHITECTURE VOLUME VII, NUMBER 2 (AUTUMN 2020) The Rise of the Castellans and Medieval Architecture: Urbanism and Architectural Discourse in Twelfth-century Burgundy GIL FISHHOF The Department of Art History, University of Haifa, Israel Introduction The canon of Romanesque architecture and sculpture in France generally focuses on the grandest of monasteries and cathedrals, often paying less attention to the numerous rural churches and modest priories that dot France's countryside.1 Yet it is the study of exactly such modest rural churches that enables evaluation of the architectural dynamics of one of the most fundamental processes of the eleventh and twelfth centuries – the rise of the castellans and the development of hundreds of new villages and small towns that appeared in the countryside around the newly constructed castles. -
Jerusalem Commonplaces in Danish Rural Churches: What Urban Architecture Remembers
Line M. Bonde Chapter 15 Jerusalem Commonplaces in Danish Rural Churches: What Urban Architecture Remembers The phrase SALOMON ME FECIT MONASTERIU(m) (Solomon made me, the church) is carved in majuscules on the inner northern jamb of a portal in the rural Hunseby Church on the small island of Lolland, Denmark (Fig. 15.1a).1 It evokes the metaphor of the Christian church as Solomon’s Temple, effectively establishing the rural church as a local Jerusalem.2 Hunseby Church, built during the long twelfth century, is part of the massive wave of stone churches built all over medieval Denmark in this period. The art of building in stone came in the wake of the late Christianization of the Danes and was exclusively used to erect churches; churches built in the style of the so- called Romanesque. However, the visual articulation of the “novel” architectural ex- pression was more than mere play with forms and formats; it was visual rhetoric. As such, the “style” of the early stone churches carried with it a plethora of Christian metaphors and allusions intended to translate Jerusalem and the Christian story- world onto Danish soil. Architecture relates to a concept of recognisability – a point of reference. It remembers “something.” The Hunseby inscription illustrates that the Medieval church building – no matter size, or status, or geographical location – remembers the Temple of Jerusalem, the House of the Lord. Its inscription rejects the modernist dichotomy be- tween “subject” and “object,”“interpreter” and “interpreted,” by giving voice to the physical building itself. This “animation” of the building calls to mind the medieval mass expositions and rhetorical practices, especially as the facing inner jamb reads 1 My translation.