Glossary of Architectural and Building Terms (Dates Given, for Instance, As C19 = ‘Nineteenth Century')Century')
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Preliminary Investigation of the Iconography of the Woman with the Skull from the Puerta De Las Platerías of Santiago De Compostela
PRELIMINARY INVESTIGATION OF THE ICONOGRAPHY OF THE WOMAN WITH THE SKULL FROM THE PUERTA DE LAS PLATERÍAS OF SANTIAGO DE COMPOSTELA By KAREN FAYE WEBB A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Karen Faye Webb To Dan and Judy Webb ACKNOWLEDGMENTS I am indebted to many individuals for their support and guidance in my physical and conceptual pilgrimage to Santiago de Compostela. I would most like to thank Dr. David Stanley who has been my constant supporter as my toughest critic and my most caring mentor. Dr. Carolyn Watson’s medieval art class at Furman University introduced me to the complex beauty of the south transept portal. My parents indulged my awe of this portal and physically and metaphorically climbed the steps leading to the Puerta de las Platerías with me to pay homage to the Woman with the Skull. Without them, this study would not have been possible. I would like to thank my reader, Dr. John Scott, for his insightful comments, and Jeremy Culler, Sarah Webb and Sandra Goodrich for their support, friendship, and unwavering faith in me. Finally, I would like to thank the Woman with the Skull, who brought me on this pilgrimage and has given me a new awareness about art and myself. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES .......................................................................................................... -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
Evaluation of the Central Narthex Portal at Sainte-Madeleine De Vèzelay" (2005)
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Evaluation of the central narthex portal at Sainte- Madeleine de Vèzelay Christine Ann Zeringue Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Zeringue, Christine Ann, "Evaluation of the central narthex portal at Sainte-Madeleine de Vèzelay" (2005). LSU Master's Theses. 85. https://digitalcommons.lsu.edu/gradschool_theses/85 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVALUATION OF THE CENTRAL NARTHEX PORTAL AT SAINTE-MADELEINE DE VÉZELAY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Christine Ann Zeringue B.S., Louisiana State University, 2000 May 2005 ACKNOWLEDGEMENTS I would like to thank Dr. Kirstin Noreen for her invaluable guidance and patience throughout the long process of creating this thesis. Without her continuing support I would never have completed my degree. Drs. Mark Zucker and Marchita Mauck also deserve my thanks for working me into their busy schedules by agreeing to serve on my graduate committee. I would also like to thank Professor H. Parrot Bacot for all the wonderful talks we had during the early preparations for my thesis. -
Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum
archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in crosssection, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a halfbarrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
2008 Romanesque in the Sousa Valley.Pdf
ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1. -
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. -
Architectural Terms
Architectural terms adobe A word of Arabic origin mean dentil One of a band of square, small mansard A roof ing earth from which unburnt bricks toothlike blocks. having a double slope H are made. dormer window A vertical window on all four sides, ashlar hewn or squared stone. which projects from a sloping roof. (See the lower slope being much steeper. balustrade An entire railing system ~Gable " sketch) (as along the edge of a balcony) double-hung sash window A mullion A vertical member separating including a top rail and its upright window having two vertically sliding (and often supporting) window panes or supports, or balusters. sashes, each closing a different part of door panels. batter To incline from the vertical. A the window. oriel A bay window projecting out from wall is said to batter when it recedes as it eave That part of a roof which projects the wall of an upper story. rises . out beyond the wall of the building . palladian window A large window bracket Any overhanging member engaged column A column partially divided by columns or projecting from a wall or other body to built into a wall, not freestanding. piers, resembling support a weight (such as a cornice) pilasters, into three acting outside the wall. entablature In Classical architecture, the elaborated beam member carried by lights, the middle canale A roof drainspout projecting one of which through a parapet wall. the columns, horizontally divided into architrave below, frieze and cornice is usually widest chamfe r An oblique surfa ce produced above. a similar feature as the crown of and arched. -
Romanesque Architecture and Arts
INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards. -
Architecture of the Cabildo
Architecture of the Cabildo The Cabildo in New Orleans is one of the most historically significant buildings in Louisiana. It was the seat of Spanish colonial government, the site of the Louisiana Purchase transfer ceremony, and home of the Louisiana Supreme Court. It is now part of the Louisiana State Museum. Learn more about the architectural features of this iconic building! Architecture The Cabildo was built 1794-1799 under Spanish rule. It was designed by Gilberto Guillemard in the classical style, which is modelled on the architecture of ancient Greece and Rome. This style was common for eighteenth-century Spanish government buildings and has been used throughout history to convey power and wealth. The wrought-iron balcony railings were created by Marcelino Hernandez, an immigrant from the Canary Islands. The Spanish coat of arms in the pediment was replaced with a patriotic sculpture of an American bald eagle in 1821, a few years after Louisiana became a state, sculpted by Italian artist Pietro Cardelli. In 1847, a third floor with a mansard roof and cupola replaced the original flat roof. This popular French roof style was added in part to match the planned scale of the Pontalba apartment buildings on Jackson Square, which were begun in 1849. These features form an impressive façade that reflect changing influences in New Orleans over time. Architectural terms1 – Use this list of terms to label the drawing of the Cabildo on the next page. • arcade – a series of arches supported by columns • arch – a curved structural element spanning -
The Pedimental Sculpture of the Hephaisteion
THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment. -
Lotus Bud Finial Asana Pose the Great Stupa at Sanchi Sakyamuni
Resources: https://www.britannica.com/techn ology/pagoda, http://www.vam.ac.uk/content/arti TITLE: Pagoda (replica) cles/i/iconography-of-the- ARTIST: Unknown buddha/, DATE: Unknown http://fsu.kanopystreaming.com/vi SIZE: Height: 3 ¾; Width: 2 ¼; Depth: 1 7/8 inches deo/great-stupa-sanchi, MEDIUM: Wood https://prezi.com/nzoahwiq3owv/t AQUISTION #: 88.1.7 odaiji-the-great-eastern-temple/, http://thekyotoproject.org/english/ ADDITIONAL WORKS BY THE ARTIST IN COLLECTION? pagodas/ YES _ NO_ UNKNOWN X Context In the third century BCE, Emperor Ashoka commissioned the first “Great Stupa” in Sanchi, India. A stupa is a large dome tomb that was created to house relics of the Buddha. The “Great Stupa” held the Buddha’s ashes and was constructed in three parts: a base, body, and decorative finial. The decorative finial is the crowning element located at the highest point of the stupa. Throughout many centuries the design of the stupa structure evolved from the rounded monument to the multi-storied structure now known as the pagoda. Constructed and adapted throughout East Asia, the common building materials consist of brick, wood, or stone. Pagodas also range in a variety of sizes. Some are towers with high reaching crowning pieces and others are short. Today any Pagoda is a pilgrimage site. The Great Stupa at Sanchi Sakyamuni Pagoda of Fogong Temple The wooden pagoda in Yingxian, China is the oldest tiered structure in the world. Built in 1056, the nine-story building is 67.31 meters high. With multiple pagoda structures located throughout the world, this was the first wooden structure completed under the Ming (1368–1644) and Qing Dynasties (1644-1912).