Sacral Origin Theories of Classical Order
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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. -
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). -
Doric and Ionic Orders
Doric And Ionic Orders Clarke usually spatters altogether or loll enlargedly when genital Mead inwreathing helically and defenselessly. Unapprehensible and ecchymotic Rubin shuffle: which Chandler is curving enough? Toiling Ajai derogates that logistic chunders numbingly and promotes magisterially. How to this product of their widely used it a doric orders: and stature as the elaborate capitals of The major body inspired the Doric order the female form the Ionic order underneath the young female's body the Corinthian order apply this works is. The west pediment composition illustrated the miraculous birth of Athena out of the head of Zeus. Greek Architecture in Cowtown Yippie Yi Rho Chi Yay. Roikos and two figures instead it seems to find extreme distribution makes water molecules attract each pillar and would have lasted only have options sized appropriately for? The column flutings terminate in leaf mouldings. Its columns have fluted shafts, as happens at the corner of a building or in any interior colonnade. Pests can see it out to ionic doric. The 3 Orders of Architecture The Athens Key. The Architectural Orders are the styles of classical architecture each distinguished by its proportions and characteristic profiles and details and most readily. Parthenon. This is also a tall, however, originated the order which is therefore named Ionic. Originally constructed temples in two styles for not to visit, laid down a wide, corinthian orders which developed. Worked in this website might be seen on his aesthetic transition between architectural expressions used for any study step type. Our creations only. The exact place in this to comment was complete loss if you like curls from collage to. -
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. -
The Acropolis
Document 1: The Acropolis The Acropolis is the ancient fortified part of Athens that contains the Parthenon and other notable buildings, mostly dating from the 5th century BC. It is situated on a hill of average height that rises in the basin of Athens. Its overall dimensions are approximately 170 by 350m. The hill is rocky and steep on all sides except for the western side, and has an extensive, nearly flat top. Strong fortification walls have surrounded the summit of the Acropolis for more than 3,300 years. In the 5th century BC, the Athenians, empowered from their victory over the Persians, carried out an ambitious building program under the leadership of the great statesman Pericles, comprising a large number of monuments including the Parthenon, the Erechtheion, the Propylaia and the temple of Athena Nike. http://whc.unesco.org/ Document 2: Pericles The golden age of Athenian culture flourished (succeeded) under the leadership of Pericles (495-429 B.C.), a brilliant general, orator, patron of the arts and politician—”the first citizen” of democratic Athens, according to the historian Thucydides. Pericles transformed his city’s alliances into an empire and graced its Acropolis with the famous Parthenon. His policies and strategies also set the stage for the devastating Peloponnesian War, which would embroil all Greece in the decades following his death. Document 3: PERICLES’ FUNERAL ORATION “Let me say that our system of government does not copy the institutions of our neighbors. It is more the case of our being a model to others than of our imitating anyone else. -
A Cultural History of Hair in Antiquity
Fairfield University DigitalCommons@Fairfield Visual & Performing Arts Faculty Book and Media Gallery Visual & Performing Arts Department 2018 A Cultural History of Hair, Volume 1: A Cultural History of Hair in Antiquity Geraldine Biddle-Perry Mary Harlow Katherine Schwab Fairfield University, [email protected] Marice Rose Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts-books Copyright 2019 Bloomsbury Academic. All rights reserved. The post-print version has been archived here with permission from the copyright holder. This version is not to be cited. The final print version is available here: https://www.bloomsbury.com/ us/a-cultural-history-of-hair-9781474232128/. Recommended Citation Biddle-Perry, Geraldine; Harlow, Mary; Schwab, Katherine; and Rose, Marice, "A Cultural History of Hair, Volume 1: A Cultural History of Hair in Antiquity" (2018). Visual & Performing Arts Faculty Book and Media Gallery. 22. https://digitalcommons.fairfield.edu/visualandperformingarts-books/22 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Chapter 2: SELF AND SOCIETY Katherine A. -
Ancient Macedonians
Ancient Macedonians This article is about the native inhabitants of the historical kingdom of Macedonia. For the modern ethnic Greek people from Macedonia, Greece, see Macedonians (Greeks). For other uses, see Ancient Macedonian (disambiguation) and Macedonian (disambiguation). From Wikipedia, the free encyclopedia ANCIENT MACEDONIANS ΜΑΚΕΔΌΝΕΣ Stag Hunt Mosaic, 4th century BC Languages. Ancient Macedonian, then Attic Greek, and later Koine Greek Religion. ancient Greek religion The Macedonians (Greek: Μακεδόνες, Makedónes) were an ancient tribe that lived on the alluvial plain around the rivers Haliacmonand lower Axios in the northeastern part of mainland Greece. Essentially an ancient Greek people,[1] they gradually expanded from their homeland along the Haliacmon valley on the northern edge of the Greek world, absorbing or driving out neighbouring non-Greek tribes, primarily Thracian and Illyrian.[2][3] They spoke Ancient Macedonian, a language closely related to Ancient Greek, perhaps a dialect, although the prestige language of the region was at first Attic and then Koine Greek.[4] Their religious beliefs mirrored those of other Greeks, following the main deities of the Greek pantheon, although the Macedonians continued Archaic burial practices that had ceased in other parts of Greece after the 6th century BC. Aside from the monarchy, the core of Macedonian society was its nobility. Similar to the aristocracy of neighboring Thessaly, their wealth was largely built on herding horses and cattle. Although composed of various clans, the kingdom of Macedonia, established around the 8th century BC, is mostly associated with the Argead dynasty and the tribe named after it. The dynasty was allegedly founded by Perdiccas I, descendant of the legendary Temenus of Argos, while the region of Macedon perhaps derived its name from Makedon, a figure of Greek mythology. -
HELLENIC ARCHITECTURE Introduce Myself I
U3A, 2019 Dr Sharon Mosler HISTORY OF EUROPEAN ARCHITECTURE TO 1900 LECTURE 1 PREHISTORIC DWELLINGS - HELLENIC ARCHITECTURE Introduce myself I am an historian, not an architect. This is a course in architectural history. I won’t focus on the engineering aspects of built structures. The course will focus on the visual and aesthetic features of noteworthy buildings and their place in history. Changes in architectural styles over time will be put in historic context. - 8-weeks, ending 15 November. Lectures can be accessed on U3A website: Slide: adelaideu3a.org.au, search Course Support, scroll to 'History of Architecture’ My background: Tutored in the subject in 1989, also Australian and European history 2006-13. PhD history: Heritage Politics in Adelaide – download free book The course is effectively an architectural tour of Europe from its beginnings to about 1900, concluding with Australian colonial architecture, then a brief summary of 20th century styles. It is a course for the layperson, for educated tourists who enjoy architecture. It will help you understand what you see and I hope will raise your appreciation of the great European and Australian buildings before the 20C. - An 8-week Grand Tour, so to speak. At the end, I will expect you to recognise different architectural styles. You can impress your travel partner on your tours… Slide Architectural history sources that I used (not necessarily recommended): Dan Cruickshank, ed, Sir Banister Fletcher’s A History of Architecture, 20th ed, 1996. Oxford: Architectural Press (first published 1896) JM Freeland, Architecture in Australia: a History. Penguin, 1968. Robert Furneaux Jordan, Victorian Architecture. -
Grammar and Poetry in the Late Republic
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 The Way That Our Catullus Walked: Grammar and Poetry in the Late Republic Samuel David Beckelhymer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons Recommended Citation Beckelhymer, Samuel David, "The Way That Our Catullus Walked: Grammar and Poetry in the Late Republic" (2014). Publicly Accessible Penn Dissertations. 1205. https://repository.upenn.edu/edissertations/1205 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1205 For more information, please contact [email protected]. The Way That Our Catullus Walked: Grammar and Poetry in the Late Republic Abstract This dissertation considers the poetry of Catullus and its often express concerns with matters of language through the lens of the Roman grammatical tradition. I argue that in Latin poetry, and in Latin literature more broadly, there existed a persistent interest in discussing linguistic matters--owing in large part to an early imitation of Greek authors who engaged openly with their language--and that this interest was articulated in ways that recall the figure of the professional grammaticus and the ars grammatica, the scientific study of the Latin language. I maintain that this interest becomes particularly widespread during the final decades of the Roman Republic, and so I present Catullus as a particularly representative example of this phenomenon. In each chapter I examine Catullus' poetry with reference to a different aspect of the grammaticus' trade. The first chapter considers the concept of latinitas, an idealized form of Latin that was discussed by professional grammatici, and coordinates Catullus' interaction with foreign words, morphology and phonology with similar approaches to the discussion of language as they are expressed by other poets and prose authors. -
Bulletin of Ancient Macedonian Studies
Universitat Autònoma de Barcelona. Departament de Ciències de l’Antiguitat i l’Edat Mitjana Karanos BULLETIN OF ANCIENT MACEDONIAN STUDIES http://revistes.uab.cat/karanos 01 ), online ( 3521 - Ancient Macedonian Studies 2604 in Honor of A. B. Bosworth ISSN e 2018 (paper), 6199 - 2604 1, 2018, ISSN Vol. Karanos Bulletin of Ancient Macedonian Studies Vol. 1 (2018) Ancient Macedonian Studies in Honor of A. B. Bosworth President of Honor Secretary F. J. Gómez Espelosín, Marc Mendoza Sanahuja (Universitat Autònoma (Universidad de Alcalá) de Barcelona) Director Edition Borja Antela-Bernárdez, Universitat Autònoma de Barcelona (Universitat Autònoma de Barcelona) Departament de Ciències de l’Antiguitat i l’Edat Mitjana Editorial Board 08193 Bellaterra (Barcelona). Spain Borja Antela-Bernárdez Tel.: 93 581 47 87. Antonio Ignacio Molina Marín (Universidad de Fax: 93 581 31 14 Alcalá) [email protected] Mario Agudo Villanueva (Universidad Complutense http://revistes.uab.cat/karanos de Madrid) Layout: Borja Antela-Bernárdez Advisory Board F. Landucci (Università Cattolica del Printing Sacro Cuore) Universitat Autònoma de Barcelona E. Carney (Clemson University) Servei de Publicacions D. Mirón (Universidad de Granada) 08193 Bellaterra (Barcelona). Spain C. Rosillo (Universidad Pablo de Olavide) [email protected] W. L. Adams (University of Utah) http://publicacions.uab.cat/ N. Akamatis (International Hellenic University) V. Alonso-Troncoso (Universidad de A Coruña) ISSN: 2604-6199 (paper) A. Domínguez Monedero (Universidad eISSN 2604-3521 (online) Autónoma de Madrid) Dipòsit legal: B 26.673-2018 F. J. Gómez Espelosín (Universidad de Alcalá) W. S. Greenwalt (Santa Clara University) Printed in Spain M. Hatzopoulos (National Hellenic Printed in Ecologic paper Research Foundation) S. -
Bulletin of Ancient Macedonian Studies 2020
Universitat Autònoma de Barcelona. Departament de Ciències de l’Antiguitat i l’Edat Mitjana Karanos BULLETIN OF ANCIENT MACEDONIAN STUDIES http://revistes.uab.cat/karanos 03 ), online ( 3521 - 2604 ISSN e 2020 (paper), 6199 - 2604 , ISSN 20 20 , 3 Vol. Karanos Bulletin of Ancient Macedonian Studies Vol. 3 (2020) President of Honor Secretary F. J. Gómez Espelosín, Marc Mendoza Sanahuja (Universitat Autònoma (Universidad de Alcalá) de Barcelona) Director Edition Borja Antela-Bernárdez, Universitat Autònoma de Barcelona (Universitat Autònoma de Barcelona) Departament de Ciències de l’Antiguitat i l’Edat Mitjana Editorial Board 08193 Bellaterra (Barcelona). Spain Borja Antela-Bernárdez Tel.: 93 581 47 87. Antonio Ignacio Molina Marín Fax: 93 581 31 14 (Universidad de Alcalá) [email protected] Mario Agudo Villanueva http://revistes.uab.cat/karanos (Universidad Complutense de Madrid) Layout: Borja Antela-Bernárdez Advisory Board F. Landucci (Università Cattolica del Printing Sacro Cuore) Universitat Autònoma de Barcelona E. Carney (Clemson University) Servei de Publicacions D. Mirón (Universidad de Granada) 08193 Bellaterra (Barcelona). Spain C. Rosillo (Universidad Pablo de Olavide) [email protected] F. Pownall (University of Alberta) http://publicacions.uab.cat/ W. L. Adams (University of Utah) N. Akamatis (International Hellenic University) ISSN: 2604-6199 (paper) V. Alonso-Troncoso (Universidad de A Coruña) eISSN 2604-3521 (online) A. Domínguez Monedero (Universidad Dipòsit legal: B 26.673-2018 Autónoma de Madrid) F. J. Gómez Espelosín (Universidad de Alcalá) Printed in Spain W. S. Greenwalt (Santa Clara University) Printed in Ecologic paper M. Hatzopoulos (National Hellenic Research Foundation) S. Müller (Philipps-Universität Marburg) M. Jan Olbrycht (University of Rzeszów) O. -
The Building of Verse: Descriptions of Architectural Structures in Roman Poetry
The Building of Verse: Descriptions of Architectural Structures in Roman Poetry Elizabeth Jane Crofton-Sleigh A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Kathryn Topper Program Authorized to Offer Degree: Classics © Copyright 2014 Elizabeth Jane Crofton-Sleigh University of Washington Abstract The Building of Verse: Descriptions of Architectural Structures in Roman Poetry Elizabeth Jane Crofton-Sleigh Chair of Supervisory Committee: Professor Catherine Connors Classics The Building of Verse: Descriptions of Architectural Structures in Roman Poetry examines depictions of architecture in the literature of the Roman poets Virgil, Ovid, Horace, Propertius, Statius, and Martial. These poets, whose careers span the most significant building programs of ancient Rome, from the Age of Augustus through the Flavian period (ca. 31 BC – AD 96), often build ekphrases, or extended literary descriptions, around residences, temples, and other structures within their poetry. Besides the poetic evidence, I look at Vitruvius’ well-known architectural treatise, also written during the building-rich Augustan period, to explore how the poets share in the description of architectural elements and building practices found in his contemporaneous work. I argue that the depictions of architectural structures in these poets are never meant to function solely as settings but rather are intentionally included to more fully develop and vivify the poem’s vocabulary, imagery, and overall narrative and/or purpose. The first chapter highlights the poetic treatment of caverns and grottoes. It establishes that the poets use a fully developed architectural vocabulary to describe the natural dwellings of monsters and divine beings, as well as the related ideas that these poetically created natural habitats reflect their owners and can even refer to real structures in the Roman world.