DOCSLIB.ORG

Arch 150: Appreciation of Architecture I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arch 150: Appreciation of Architecture I Arch 150: Appreciation of Architecture I Greece 2: Classical Greek and Hellenistic Architecture Third Test opens next Thursday, 11/14 at 6:00 pm • 30 questions, 40 minutes • covers Americas, Greece 1 and 2, Rome 1 and 2 • available until Saturday at 6:00 pm • study guide available on Canvas 3000 2000 1000 500 0 500 Temples at Paestum, Italy Acropolis, Athens Delphi Olympia Athens Agora, Athens Stoa of Attalos, Athens Theater of Dionysos, Athens Peripteral temple Peristyle (9 x 18) Cella Temple in antis Prostyle temple Amphiprostyle temples Megaron, Tyrins Peristyle Porch Opisthodome Cella (8 x 17) Porch Parthenon, Athens Cornice Triglyph Pediment Metope Frieze Abacus Entablature Echinus Architrave Capital Flute Arris Column Stylobate Shaft Stereobate Doric Order Paestum, Italy (6th century bce) 1st Temple of Hera (also called The Basilica) 2nd Temple of Hera (Temple of Poseidon or Neptune) Paestum, Italy Temple of Athena (also called Temple of Ceres) 9 x 18 (enneastyle) Temple of Hera 1 (The Basilica), Paestum (ca. 550 bce) 6 x 13 (hexastyle) Temple of Athena (Ceres), Paestum (ca. 500 bce) 6 x 14 hexastyle Temple of Hera 2 (also Poseidon, Neptune), Paestum (ca. 450 bce) AcropolisAcropolis AgoraAgora Athens The Panathenaic Way, Athens The Propylaea (437 bce) Temple of Athena Nike (ca. 425 bce) tetrastyle amphiprostyle Temple of Athena Nike (ca. 425 bce, by Kallikrates) Temple of Athena Nike (ca. 425 bce) Temple of Athena Nike (ca. 425 bce) The Propylaea (437 bce, by Mnesikles) The Propylaea (437 bce) The Propylaea (437 bce) The Propylaea (437 bce) The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce, by Iktinos and Kallikrates) 8 x 17 (octastyle) 101 ft. x 228 ft. The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce, sculptor: Phidias) The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce) The Parthenon (Temple of Athena Polias) (432 bce) The Erectheion (407 bce) Poseidon’s spring Athena’s olive tree Kekrops’s tomb (first king of Athens) The Erectheion (407 bce) The Erectheion (407 bce) The Erectheion (407 bce) The Erectheion, Caryatid porch (407 bce) The Erectheion (407 bce) Cornice Pediment Dentil Frieze Entablature Entablature Architrave Volute Capital Flute Column Fillet Shaft Base Steps Ionic from Asia Minor Ionic from near Athens Agora, Athens (in the 5th century bce) Stoa Stoa of Attalos Agora, Athens (in the 2nd century bce) Stoa of Attalos (ca. 150 bce) Stoa of Attalos (ca. 150 bce) Stoa of Attalos (ca. 150 bce) Stoa of Attalos (ca. 150 bce) Pnyx (Ecclesia) Bouleuterion (boule) Prytanium or Tholos (prytany) Theater of Dionysos, Athens (6th c. bce) Skene Proskenion Orchestra Theater of Dionysos, Athens (3rd c. bce) Theater of Dionysos, Athens (3rd c. bce) .
Load more

Recommended publications
  • Full Thesis Text Only
    A DIACHRONIC EXAMINATION OF THE ERECHTHEION AND ITS RECEPTION Alexandra L. Lesk, B.A., M.St. (Oxon.), M.A. Presented to McMicken College of Arts and Sciences and the Department of Classics of the University of Cincinnati in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2004 Committee: C. Brian Rose (Chair) Jack L. Davis Kathleen M. Lynch J. James Coulton Abstract iii ABSTRACT “A Diachronic Examination of the Erechtheion and Its Reception” examines the social life of the Ionic temple on the Athenian Akropolis, which was built in the late 5th century B.C. to house Athens’ most sacred cults and relics. Using a contextualized diachronic approach, this study examines both the changes to the Erechtheion between its construction and the middle of the 19th century A.D., as well as the impact the temple had on the architecture and art of these successive periods. This approach allows the evidence to shed light on new areas of interest such as the Post-Antique phases of the building, in addition to affording a better understanding of problems that have plagued the study of the Erechtheion during the past two centuries. This study begins with a re-examination of all the pertinent archaeological, epigraphical, and literary evidence, and proposes a wholly new reconstruction of how the Erechtheion worked physically and ritually in ancient times. After accounting for the immediate influence of the Erechtheion on subsequent buildings of the Ionic order, an argument for a Hellenistic rather than Augustan date for the major repairs to the temple is presented.
    [Show full text]
  • The Two-Piece Corinthian Capital and the Working Practice of Greek and Roman Masons
    The two-piece Corinthian capital and the working practice of Greek and Roman masons Seth G. Bernard This paper is a first attempt to understand a particular feature of the Corinthian order: the fashioning of a single capital out of two separate blocks of stone (fig. 1).1 This is a detail of a detail, a single element of one of the most richly decorated of all Classical architec- tural orders. Indeed, the Corinthian order and the capitals in particular have been a mod- ern topic of interest since Palladio, which is to say, for a very long time. Already prior to the Second World War, Luigi Crema (1938) sug- gested the utility of the creation of a scholarly corpus of capitals in the Greco-Roman Mediter- ranean, and especially since the 1970s, the out- flow of scholarly articles and monographs on the subject has continued without pause. The basis for the majority of this work has beenformal criteria: discussion of the Corinthian capital has restedabove all onstyle and carving technique, on the mathematical proportional relationships of the capital’s design, and on analysis of the various carved components. Much of this work carries on the tradition of the Italian art critic Giovanni Morelli whereby a class of object may be reduced to an aggregation of details and elements of Fig. 1: A two-piece Corinthian capital. which, once collected and sorted, can help to de- Flavian period repairs to structures related to termine workshop attributions, regional varia- it on the west side of the Forum in Rome, tions,and ultimatelychronological progressions.2 second half of the first century CE (photo by author).
    [Show full text]
  • October 1893
    ENTRANCE TO THE CITY HALL, COLOGNE. TTbe VOL. III. OCTOBER-DECEMBER, 1893. NO. 2. THE PROBLEM OF NATIONAL AMERICAN ARCHITECTURE. I. THE QUESTION STATED. HAT is to be the must in due time be developed, in the character of the peculiar circumstances of American style of artistic progress, a particular variety of that architectural de- artistic treatment of building which is sign which sooner one of the instincts of mankind, is a or later is to be- proposition that is scarcely open to come established debate. The question before us there- in the United fore is simply this: Considering what States as a national style ? Of course these peculiar circumstances are, and this is a to to those natural speculative question ; but, having regard laws, American architects and connoisseurs, how far can we foresee the outcome? it is not merely an extremely interest- Is this American originality likely to be ing one, it is a highly important one, great or small; essential or not; good, and indeed a practical problem for bad, or indifferent; of speedy achieve- daily consideration. ment or slow; permanent or evanescent? Americans may ask whether it is not for themselves to solve this problem, II. A PECULIAR CONTROVERSY IN without any help from friends, however ENGLAND. friendly, in the Old World a world, moreover, which to many persons in It may be well to premise that there these days seems somewhat effete in is at the present moment a very pecul- many ways, and confessedly, amongst iar and somewhat acrimonious contro- the rest, not up to the mark in archi- versy agitating the architectural profes- tecture.
    [Show full text]
  • Parthenon 1 Parthenon
    Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury.
    [Show full text]
  • Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
    Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors.
    [Show full text]
  • Lecture 05 Greek Architecture Part 2
    Readings Pages 54-60, A World History of Architecture, Fazio, Michael, Moffet & Wodehousecopoy Pages 60– 65 Great Architecture of the World ARCH 1121 HISTORY OF ARCHITECTURAL TECHNOLOGY Photo: Alexander Aptekar © 2009 Gardner Art Through the Ages Classical Greek Architecture 480 – 431BCE: Known as the Classical Period in Greek History Assertion that human intelligence puts man above the rest of nature Architecture began in the service of religion 7th century BCE – 1st efforts to create proper shapes and design Beauty = Gods Secret of beauty lay in ratios and proportions Invented democracy and philosophy Created works of art in drama, sculpture and architecture Greek Architecture 480 – 431BCE Temples first built with wood, then stone w/ terra cotta tiles Purely formal objects Greeks pursued the beauty through architecture and materials The home of the Gods Became the principal ornaments in the cities, generally on hills or other prominent locations www.greatbuildings.com www.greatbuildings.com Temple of Hephaestus megron Athenian Treasury Classical Orders In classical Greek architecture, beauty lay in systems of the ratios and proportions. A system or order defined the ideal proportions for all the components of the temples according to mathematical ratios – based on the diameter of the columns. What is an order? An order includes the total assemblage of parts consisting of the column and its appropriate entablature which is based on the diameter of the column. Temple of Hera II (Poseidon) 450 BCE The column is vertical and supports the structure. Its diameter sets the proportion of the other parts. The entablature is horizontal and consists of many elements.
    [Show full text]
  • The Art of Ancient Greece: Early and High Classical Temple of Hera II
    The Art of Ancient Greece: Early and High Classical Temple of Hera II, Paestum, Italy, ca. 460 BCE. East pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, approx. 87’ wide. Archaeological Museum, Olympia. Seer, from the east pediment of the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, approx. 4’ 6” high. Archaeological Museum, Olympia. Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, approx. 2’ 10” high. Acropolis Museum, Athens. Warrior, from the sea off Riace, Italy, ca. 460–450 BCE. Bronze, approx. 6’ 6” high. Archaeological Museum, Reggio Calabria. Charioteer, from a group dedicated by Polyzalos of Gela in the Sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, approx. 5’ 11” high. Archaeological Museum, Delphi. Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460–450 BCE. Bronze, approx. 6’ 10” high. National Archaeological Museum, Athens. MYRON, Diskobolos (Discus Thrower). Roman marble copy after a bronze original of ca. 450 BCE, 5’ 1” high. Museo Nazionale Romano—Palazzo Massimo alle Terme. POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Nazionale, Naples. IKTINOS and KALLIKRATES, Parthenon, the Temple of Athena Parthenos (view from the northwest), Acropolis, Athens, Greece, 447–438 BCE. Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after A. Stewart), 447–432 BCE. PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost statue, which was approx.
    [Show full text]
  • Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
    Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input.
    [Show full text]
  • Attic Pottery of the Later Fifth Century from the Athenian Agora
    ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art.
    [Show full text]
  • Ancient Lamps in the J. Paul Getty Museum
    ANCIENT LAMPS THE J. PAUL GETTY MUSEUM Ancient Lamps in the J. Paul Getty Museum presents over six hundred lamps made in production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers GETTYIN THE PAUL J. MUSEUM that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals— the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and graves. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life in antiquity. Presenting a largely unpublished collection, this extensive catalogue is ` an invaluable resource for specialists in lychnology, art history, and archaeology. Front cover: Detail of cat. 86 BUSSIÈRE AND LINDROS WOHL Back cover: Cat. 155 Jean Bussière was an associate researcher with UPR 217 CNRS, Antiquités africaines and was also from getty publications associated with UMR 140-390 CNRS Lattes, Ancient Terracottas from South Italy and Sicily University of Montpellier. His publications include in the J. Paul Getty Museum Lampes antiques d'Algérie and Lampes antiques de Maria Lucia Ferruzza Roman Mosaics in the J. Paul Getty Museum Méditerranée: La collection Rivel, in collaboration Alexis Belis with Jean-Claude Rivel. Birgitta Lindros Wohl is professor emeritus of Art History and Classics at California State University, Northridge. Her excavations include sites in her native Sweden as well as Italy and Greece, the latter at Isthmia, where she is still active.
    [Show full text]
  • Junior High-High School Edition)
    1 Glossary for the Virtual Tour (Junior High-High School Edition) A Acanthus – Representation of Acanthus plant leaf used in architecture and decorative arts as an ornamental motif, specifically in Classical architecture of the Greeks and Romans. Also used in the capital of the Corinthian order. Ad valorem taxes – Ad valorem is a Latin phrase meaning “according to the value,” meaning it is a tax proportional to the value of the underlying asset. Usually a type of property tax. Alabaster – A type of fine-grained gypsum that has been used for statuary, carvings, ornaments, church fittings, and monuments. Normally snow-white in color, however, it can be dyed or even be translucent depending on the treatment. Ante-chamber – A room that serves as a waiting area and entry to a larger chamber. Anthemion – A decoration in architecture consisting of radiating petals and used widely in Classical architecture. Arch – A curved structure, usually a doorway or gateway, that serves as support for a structure. Architect – A skilled person in the art of building, who designs complex structures such as government buildings, monuments, housing, etc. Architecture – The art and technique of designing and building. Architrave – In Classical architecture, the lowest section of the entablature (see entablature) directly above the capital of a column. Art Nouveau – Meaning “new art,” Art Nouveau is a style of art and architecture that was popular in the late 19th and early 20th centuries. It is known by its floral designs, flowing lines, and curved tendrils. Attic – Denotes any portion of a wall above the main cornice (see cornice).
    [Show full text]
  • History of Architecture
    ART 21000: HISTORY OF ARCHITECTURE Course Description: An introduction to the history of architecture of the Western World from the Stone Age to skyscrapers based on lectures, readings from the required texts, completion of the Architectural Vocabulary Project, and the study visit to Italy. Lectures and readings cover the historical development of architecture in the following topics: Stone Age, Egyptian & Mesopotamian, Greek, Roman, Early Christian, Romanesque, Gothic, Renaissance, Baroque, and the Modern Era to the present. Class Meetings: Tuesday & Thursday, 4-8pm Texts: Watkin & XanEdu Course Schedule: Mtg # Date Topics Readings 1 T 5/12 Stone Age, Egypt, Mesopotamia & Greece TBD 2 R 5/14 Rome TBD 3 T 5/19 Exam #1; Early Christian & Romanesque TBD 4 R 5/21 Romanesque & Gothic TBD 5 T 5/26 Exam #2 Renaissance TBD 6 R 5/28 Baroque TBD 7 T 6/2 Exam #3; 18th century & 19th century TBD 8 R 6/4 19th century TBD 9 T 6/9 20th century TBD 10 R 6/11 Exam #4; AVP.1 DUE; Walking Tour TBD 11 M-S 6/21- Study abroad to Italy 6/29 12 R 7/3 AVP.2 Due Homework Schedule: 10% of final grade. Homework will consist of writing 20 questions, answers, and citations on each topic based on the readings from Watkin and/or XanEdu. 5/19 HW 1 Stone Age, Egypt & Mesopotamia, Greek, and Roman 5/26 HW 2 Early Christian, Byzantine, Romanesque, and Gothic 6/2 HW 3 Renaissance & Baroque 6/11 HW 4 18th, 19th, and 20th centuries Grading: Homework (4) 10% Attendance (10) 10% Exams (4) 40% AVP.
    [Show full text]