“Oculus” in Architecture
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												  The Theatricality of the Baroque City: MTHE THEATRICALITY OF THE BAROQUE CITY: M. D. PÖPPELMANN’S ZWINGER AT DRESDEN FOR AUGUSTUS THE STRONG OF SAXONNY PATRICK LYNCH TRINITY HALL CAMBRIDGE UNIVERSITY 1996 MASTER OF PHILOSOPHY DISSERTATION THE HISTORY AND PHILSOPHY OF ARCHITECTURE 1 CONTENTS: Acknowledgements. Preface. 1 Introduction to the topic of theatricality as an aspect of the baroque. i.i The problem of the term baroque. i.ii The problem of theatricality in the histories of baroque architecture: i.ii.a The theatricality of the Frame. i.ii.b The theatricality of Festival. ii The hermeneutics of theatricality: ii.i Hans-Georg Gadamer's formulation of play, symbol and festival as an interpretation of baroque theatricality. 2 The historical situation of the development of the Zwinger. i The European context. ii The local context. 3 The urban situation of the Zwinger. i Barockstadt Dresden. ii Barockstaat Sachsen. 4 A description of the development of the Zwinger. Conclusion: i Festival and the baroque city. A description of the Zwinger in use as it was inaugurated during the wedding celebrations of Augustus III and Marie Josepha von Habsburg, September 1719. ii Theatricality and the city. Bibliography. Illustrations: Volume 2 2 ACKNOWLEDGEMENTS: I would like to thank D.V. for supervising me in his inimitable way, and Dr. Christopher Padfield (and Trinity Hall) for generous financial support. This dissertation is dedicated to my family and friends, absent or otherwise and to C.M. in particular for first showing me the Zwinger and without whose care this document would not exist. PATRICK LYNCH 09/96 3 'Als ich nach der Augustusbrücke kam, die ich schon so gut aus Kupferstichen und Gemälden kannte, kam es mir vor, als ob ich schon früher einmal in Traum hier gewesen wäre.' (As I came upon the Augustusbrücke, which I knew so well from engravings and paintings, it seemed to me as if I had been here once before, in a dream.) Hans Christian Andersen 'This luscious and impeccable fruit of life Falls, it appears, of its own weight to earth.
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												  A Study of the Pantheon Through Time Caitlin WilliamsUnion College Union | Digital Works Honors Theses Student Work 6-2018 A Study of the Pantheon Through Time Caitlin Williams Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Archaeology and Art History Commons Recommended Citation Williams, Caitlin, "A Study of the Pantheon Through Time" (2018). Honors Theses. 1689. https://digitalworks.union.edu/theses/1689 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Study of the Pantheon Through Time By Caitlin Williams * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Classics UNION COLLEGE June, 2018 ABSTRACT WILLIAMS, CAITLIN A Study of the Pantheon Through Time. Department of Classics, June, 2018. ADVISOR: Hans-Friedrich Mueller. I analyze the Pantheon, one of the most well-preserVed buildings from antiquity, through time. I start with Agrippa's Pantheon, the original Pantheon that is no longer standing, which was built in 27 or 25 BC. What did it look like originally under Augustus? Why was it built? We then shift to the Pantheon that stands today, Hadrian-Trajan's Pantheon, which was completed around AD 125-128, and represents an example of an architectural reVolution. Was it eVen a temple? We also look at the Pantheon's conversion to a church, which helps explain why it is so well preserVed.
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												  The Baroque Transformation of the Salus Populi Romani Amber Mcalister BlazerFrom Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazer In partial response 10 the Pro1esian1 denunciation of sa of another revered icon al the Chiesa Nuova.' This con1empo cred images, the Counter-Reformation Church in Rome initi• rary project anticipates lhe formal solution employed at 1he atcd a widespread progmm 10 resanctify holy icons.' The re Pauline altar. In 1606, the Orntorian fathers of S. Mruia in newed importance or such images for the renovmio of the Vallicella commissioned a paiming from Pe1cr Paul Rubens for Church was stated emphatically by the elaborate Baroque vo tbe high altar of 1heir new church. the Chiesa Nuova.' One of cabulary employed in their re-installation. An important ex their requirements was 1ha1 it should incorporate the mirncu ample of this process is seen in the tomb chapel erected by lous image of the Madonna and Child which the fathers had Paul Vat S. Maria Maggiore and its allar that houses the icon. preserved from their old church. Rubens finished the canvas of today known as the Salus Pop11li Rom1111i (Figure I).' Because Sts. Grego,}' and Domiti/111, S11rro1111ded by Fo11r Saims !Sts. of1he long and revered his1ory of 1he icon. the papal patronage Maurus and Papianus. Nereus and Achilleus] in 1607.' Be of the si1e. and the nascent Baroque style used for 1he altar cause of the poor light in the church the painting was unread itself. the Pauline installation serves as a paradigm for the able, and 1he Church fathers asked Rubens 10 redo the work on Counter-Reformation display of icons.
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												  Looking at the Pazzi Chapel's Umbrella Vault from Its OculusLooking at the Pazzi Chapel’s umbrella vault from its oculus Nevena RADOJEVIC DiDA: Dipartimento di Architettura – Università degli Studi di Firenze, Italy Abstract: The subject of the research is the umbrella vault in the Pazzi Chapel in Santa Croce church in Florence. In some previous researches done by the author, attempts were made to formulate new hypotheses on the form-finding processes that could have determined the shape of umbrella’s vault sail. The analyses were done by correlating detailed surveys and geometric analyses of the vault, comprising the curves, surfaces and the possible masonry texture with the hypothesized form. The hypothesized form of the inner sail is obtained by a three-dimensional transformation of a toric surface, with respect to the fixed point (dome’s oculus) and constant length (torus radius), like the conchoid of Nicomedes in 2d. The vault is made by the inner sail (the conchoid surface) and the outer sail that is not visible in this moment (the hypothesized toric surface). The results were verified by overlapping the hypothesized inner sail’s form with the laser scanner data, and only 4% of points were out of the 3 cm range. This very particular form, even though it explains the building process in a very satisfactory manner, is not actually something that the visitors can see (with the naked eye). Actually, the conchoid surface (that is a solid central projection of torus), could be perceived like a transformation of torus only under certain conditions. First condition: the inner conchoidal sail’s surface should be mapped by the elements that represent the projection of the torus’s peculiar elements (circumferences for example) onto the conchoid surface from the fixed point (oculus).
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												  Rose Window  Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia6/19/2016 Rose window  Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multipetalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral.
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												  The Byzantine Empire (Eastern Roman Empire) LatinThe Byzantine Empire (Eastern Roman Empire) Latin Greek 667 BCE: Greek colonists founded Byzantium 324 CE: Constantine refounded the city as Nova Roma or Constantinople The fall of Rome in 476 ended the western half of Portrait of Constantine, ca. the Roman Empire; the eastern half continued as 315–330 CE. Marble, approx. 8’ the Byzantine Empire, with Constantinople as its 6” high. capital. Early Byzantine Art 6-8th c. The emperor Justinian I ruled the Byzantine Empire from 527 until 565. He is significant for his efforts to regain the lost provinces of the Western Roman Empire, his codification of Roman law, and his architectural achievements. Justinian as world conqueror (Barberini Ivory) Detail: Beardless Christ; Justinian on his horse mid-sixth century. Ivory. The Byzantine Empire , ca 600 Theocracy Government by divine guidance or by officials who are regarded as divinely guided. Justinian as world conqueror (Barberini Ivory), mid-sixth century. Ivory, 1’ 1 1/2” X 10 1/2”. Louvre, Paris. In Orthodox Christianity the central article of faith is the Christ blesses equality of the three aspects the emperor of the Trinity of Father, Son and Holy Spirit. Personificati All other versions of on of Christianity were considered Victory heresies. Personification of Earth Justinian as world conqueror (Barberini Ivory), mid-sixth Barbarians bearing tribute century. Ivory, 1’ 1 1/2” X 10 1/2”. Louvre, Paris. Comparison: Ara Pacis Augustae, Female personification (Tellus; mother earth?), panel from the east facade of the, Rome, Italy, 13–9 BCE. Marble, approx. 5’ 3” high. Comparison: Equestrian statue of Marcus Aurelius, from Rome, Italy, ca.
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												  Case Study 9.3: the Pantheon, Rome, ItalyThe Classical World 151 Context and environment: The city lies on a hill standing at the centre of the (relatively untouched) Liri valley, with other hills around the horizon. Archaeological/historical/heritage research: The impressive polygonal walls of central Italy were first investigated by 19th-century ‘romantic’ archaeologists such as Ferdinand Gregorovius, later by Theodor Mommsen, and subsequently by Giuseppe Lugli. The idea that the layout of Alatri was planned on the basis of geometrical and astronomical alignments was first put forward by the local historian Giuseppe Capone in 1982. His results were confirmed and extended by subsequent investigations. Main threats or potential threats to the site: A continual problem for the dry, polygonal masonry is the growth of tree roots inside the earthwork that stands behind the walls. Today the city authority seems to have this problem under good control, although more funding is needed. Unfortunately an attempt at restoration was made in the 1970s, in which cement was injected in some sectors; this has caused a series of problems because the masonry cannot oscillate and the area is one of high seismic activity. However, it seems to be impossible to restore the pre-restoration situation, so the monument is (for the first time in millennia) at some risk from earthquakes. Management: The site is owned by Alatri city administration. Additional bibliography Aveni A. and Capone, G. (1985). “Possible astronomical reference in the urbanistic design of ancient Alatri, Lazio, Italy”, Archaeoastronomy 8, 12–15. Capone, G. (1982). La Progenie Hetea . Alatri: Tofani. Magli, G. (2006). “The Acropolis of Alatri: architecture and astronomy”, Architecture and Mathematics 8, 5–16.
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												  From the Dome of Heaven to a Cupola in Space: Re-Engaging with Imagery and Symbolism Through 3D Digital Art InstallationsFrom the dome of heaven to a cupola in space: Re-engaging with imagery and symbolism through 3D digital art installations Nick Lambert Department of History of Art and Screen Media, Birkbeck, University of London Vasari Research Centre, Birkbeck, 43 Gordon Square, London WC1H 0PD [email protected] 1. INTRODUCTION as a kind of virtual window within a darkened space, and has been exhibited in both the USA and UK. This paper looks at the possibilities of re-engaging with imagery and symbolism from earlier cultures 2.1 Lux Nova , the ‘new light’ through the medium of 3D digital environments. It examines three of the author's digital artworks - Whilst researching the history of stained glass Oculus, Lux Nova and Music of the Spheres - as windows, the importance of Abbot Suger of St- vehicles for this process, and the means by which Denis abbey in medieval France became evident. this engagement with the past can also generate Suger encouraged the use of coloured glass in the new ideas within the area of art and technology. early Gothic churches, and created a theological The recreation of an architectural sense of space concept called “lux nova”, the new light. This and position is of particular importance, as is the indirectly inspired the projection Lux Nova , which development of particular approach to 3D software. moved back to a dome-based form and showed a succession of architectural spaces where changing 2. DEVELOPING ARTWORK FOR DOME light was a significant element of their spatial effect: PROJECTION the Neolithic tomb at Maes Howe, the Pantheon in Rome, the chancel of Notre Dame, Brunelleschi's The collaborative fulldome projection Music of the dome and the new Cupola installed in the Spheres served as a testing ground for the author's International Space Station.
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												  Burgundian Gothic ArchitectureBURGUNDIAN GOTHIC ARCHITECTURE ROBERT BRANNER DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY COLUMBIA UNIVERSITY, NEW YORK A. ZWEMMER LTD LONDON tjj V1 © 1960 A. ZWEMMER LTD, 76-80 CHARING CROSS ROAD, LONDON WC2 MADE AND PRINTED IN GREAT BRITAIN BLOCKS ETCHED BY W. F. SEDGWICK LTD, LONDON SEI TEXT AND ILL USTRATIONS PRINTED BY PERCY LUND, HUMPHRIES AND CO. LTD, BRADFORD BOUND BY KEY AND WHITING LTD, LONDON NI Contents List of Plates I. Auxerre Cathedral, the interior of the chevet 2a. Anzy Ie Due, the nave 2b. Paray Ie Monial, the nave 3a. Fontenay, the nave 3b. Pontigny, the nave 4a. Fontenay, the chapter house 4b. Vermenton, detail of the nave sa. Bar sur Aube, St Pierre, the exterior of the chevet sb. Bar sur Aube, St Maclou, detail of the nave 6a. Chablis, St Pierre, the nave 6b. Montreal, the crossing and apse 7a. Langres Cathedral, the interior 7b. Bar sur Aube, St Maclou, the nave Sa. Sens Cathedral, the interior of the chevet sb. Chablis, St Martin, the hemicycle 9a. Auxerre, St Eusebe, the nave 9b. Vezelay, the interior of the chevet 10. Pontigny, the interior of the chevet lIa. Canterbury, a detail of Trinity Chapel IIb. Geneva, former Cathedral, a detail of the choir 12a. Troyes, Madeleine, a detail of the choir I2b. Sens Cathedral, a detail of the north tower wall 13a. Auxerre Cathedral, the north aisle of the chevet 13b. Clamecy, St Martin, the ambulatory wall 14. Auxerre Cathedral, an exterior detail of the hemicycle clerestory IS. Auxerre Cathedral, a detail of the clerestory and triforium 16a.
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												  The Role of the Sun in the Pantheon's Design and MeaningThe role of the sun in the Pantheon’s design and meaning Robert Hannah Giulio Magli Department of Classics Faculty of Civil Architecture University of Otago Politecnico di Milano P.O. Box 56 P.le Leonardo da Vinci 32 Dunedin 9054 20133 Milan New Zealand Italy [email protected] [email protected] Abstract Despite being one of the most recognisable buildings from ancient Rome, the Pantheon is poorly understood. While its architecture has been well studied, its function remains uncertain. This paper argues that both the design and the meaning of the Pantheon are in fact dependent upon an understanding of the role of the sun in the building, and of the apotheosised emperor in Roman thought. Supporting evidence is drawn not only from the instruments of time in the form of the roofed spherical sundial, but also from other Imperial monuments, notably Nero’s Domus Aurea and Augustus’s complex of structures on the Campus Martius – his Ara Pacis, the ‘Horologium Augusti’, and his Mausoleum. Hadrian’s Mausoleum and potentially part of his Villa at Tivoli are drawn into this argument as correlatives. Ultimately, it is proposed that sun and time were linked architecturally into cosmological signposts for those Romans who could read such things. 1 Keywords Pantheon, sun, Mausoloeum of Hadrian, Domus Aurea, ‘Horologium Augusti, Ara Pacis 1. Introduction The Pantheon is the best preserved architectural monument of the Roman period in Rome (fig. 1). Originally built by Agrippa around 27 BC under Augustus’s rule, it was destroyed by fire under Domitian, then rebuilt and finally completed in its present form during Hadrian’s reign, in ca.
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												  The Pantheon: from Antiquity to the PresentOne Introduction Tod A. Marder and Mark Wilson Jones Astonishing for its scale and magnificence as for its preservation, rich in history and meanings, the Pantheon exerts a perpetual fascination. Written accounts, visual representations, and architectural progeny from late antiquity to our day combine to create a presence at once unique and universal in the Western architectural tradition. The Venerable Bede declared that whoever leaves Rome without seeing the Pantheon leaves Rome a fool, and this dictum seems no less valid for our time than when it was first uttered, according to legend, in the eighth century. Visitors may marvel at its unexpected majesty even as they experience a sense of déjà vu, having already encountered its resonant reflection in buildings from other epochs on different continents. Indeed, the Pantheon straddles the history of Western architecture like a colossus, its influence perhaps more pervasive than for any other single building in history (Fig. 1.1, Plate I).1 1.1. View of Pantheon facade, piazza, and fountain. (The Bern Digital Pantheon Project, BERN BDPP0101) I. Exterior view of the Pantheon. (Photo Roberto Lucignani) This influence has been generous and elastic, inspiring not only copies but creative reinterpretations like Hagia Sophia in Istanbul, St. Peter’s in Rome, the Capitol in Washington, and the Parliament of Bangladesh. No less diverse are the associations that such projects exploit, which can be sacred or secular, political or religious. Simultaneously a symbol of cultural stability or revolutionary change, the Pantheon is a remarkably vigorous and mutable icon.2 The fame of the Pantheon is of course bound up with its imagery, and its imagery with its structure.
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												  BAROQUE DECORATION the ORATORIES and the STUCCO DECORATIONS Edited by Carolina Griffo and Angiolina GanazzoliTREASURE MAPS Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province Soprintendenza per i Beni culturali e ambientali di Palermo BAROQUE DECORATION THE ORATORIES AND THE STUCCO DECORATIONS Edited by Carolina Griffo and Angiolina Ganazzoli REGIONE SICILIANA Assessorato dei Beni culturali e dell’Identità siciliana PO FESR Sicilia 2007-2013 Linea d’intervento 3.1.1.1. “Investiamo nel vostro futuro” Project TREASURE MAPS Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province project by: Ignazio Romeo R.U.P.: Claudia Oliva Soprintendente: Maria Elena Volpes Baroque decoration. The Oratories and the Stucco Decorations edited by: Carolina Griffo and Angiolina Ganazzoli written by: Carolina Griffo, Angiolina Ganazzoli, Giovanni Errera, Maria Pia Guarcello, Ida Colucci photographs: Mario Fazio a special thank you to Girolamo Papa and Paola Vaccarello editorial staff: Ignazio Romeo, Maria Concetta Picciurro graphics and printing: Ediguida s.r.l. Treasure Maps: Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province. - Palermo: Regione siciliana, Assessorato dei beni culturali e dell’identità siciliana, Dipartimento dei beni culturali e dell’identità siciliana, 2015. – 20 v. 709.45823 CDD-22 SBN Pal0274341 10.: Baroque decoration: the Oratories and the Stucco Decorations / by Carolina Griffo and Angiolina Ganazzoli. - Palermo: Regione siciliana, Assessorato dei beni culturali e dell’identità siciliana, Dipartimento dei beni culturali e dell’identità siciliana, 2015. I. Griffo, Carolina <1966->. II. Ganazzoli, Angiolina <1962->. 729.609458231063 CDD-22 CIP - Biblioteca centrale della Regione siciliana “Alberto Bombace” © REGIONE SICILIANA Assessorato dei Beni culturali e dell’Identità siciliana Dipartimento dei Beni culturali e dell’Identità siciliana Soprintendenza per i Beni culturali e ambientali di Palermo Via Pasquale Calvi, 13 - 90139 Palermo Palazzo Ajutamicristo - Via Garibaldi, 41 - 90133 Palermo tel.