The Transmission of Medieval Mathematics and the Origins Of
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Nur Al-Din, the Qastal Al-Shu{Aybiyya, and the “Classical Revival” 289
nur al-din, the qastal al-shu{aybiyya, and the “classical revival” 289 JULIAN RABY NUR AL-DIN, THE QASTAL AL-SHU{AYBIYYA, AND THE “CLASSICAL REVIVAL” Enter the medieval walled city of Aleppo by its principal we might dub the Revivalists and the Survivalists. gate on the west, the Bab Antakiyya, and you are almost Until a publication by Yasser Tabbaa in 1993, “clas- immediately confronted by the Qastal al-Shu{aybiyya. sical” in this context was often indiscriminately used to The present structure, which is of modest size, consists refer to two distinct architectural expressions in Syrian of little more than a facade comprising a sabºl-type foun- architecture: what we may briefly refer to as the Greco- tain and the vaulted entrance to a destroyed madrasa (figs. 1, 2).1 This facade is crowned by a disproportion- ately tall entablature that has made the Qastal a key monument in the debate over the “classical revival” in twelfth-century Syria. Michael Rogers featured the Qastal prominently in a major article published in 1971 in which he discussed numerous occurrences of the redeployment of classical buildings—and the less frequent copying of classical decoration—in Syria and Anatolia in the eleventh and twelfth centuries. I offer the following thoughts on the Qastal in admiration of just one aspect of Michael’s unparalleled erudition. Michael Rogers entitled his article “A Renaissance of Classical Antiquity in North Syria,” and argued that the “localisation of the classicising decoration…and its restriction to a period of little more than fifty years suggests very strongly that it was indeed a revival.”2 The suggestion I would like to propose here is that we need to distinguish more exactly between adoption and adaptation; that there are only very few structures with ex professo evocations of the classical past, and that the intention behind these evocations differed widely—in short, that we are not dealing with a single phenome- non, but with a variety of responses that call for more nuanced readings. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Romantic Castles and Palaces, As Seen and Described by Famous Writers
ls•^^SS^^ jji^ NYPL RESEARCH LIBRARIES 3 3433 06899207 6 I ROMANIC PALACeS CASCLeSAND DescRmeD by GR€ACAOCnORS to 3' Dup. ^4-^ / Be Kept _£)/ n d/(zA Romantic Castles and Palaces THS NEW YORK PUBLIC LIBRARY AaTOR, LSNOX AND R 1934 I, 1 Romantic Castles and Palaces As Seen and Described by Famous Writers EDITED AND TRANSLATED By ESTHER SINGLETON AUTHOR OF " TURRETS, TOWERS AND TEMPLES," " GREAT PICTURES," " WONDERS OF NATURE," " PARIS," AND "A GUIDE TO THE OPERA," AND TRANSLATOR OF " THE MUSIC DRAMAS OF RICHARD WAGNER " IVith Numerous Illustrations ^ NEW YORK DODD. MEAD & COMPANY 190 THE NEW YORK PUBLIC LIBRARY 747446 A ASTOR, LENOX AND TILDEN FOUNDATIONS R 1934 L Copyright, igoi By Dodd, Mead & Company First edition, published October, iqoi. • « • • •• •• t. • •? « • r * ^ r r < ( Preface IN making a selection from the large number of castles and palaces that might be included, I have endeav- oured to choose those that would appeal equally to the lovers of fine architecture and to the lovers of history and legend. There is probably no class of buildings that engages the interest of so many different minds as the castle. To the architect, such strongholds as Conway, Warwick, Arundel, Lambeth, Blois, Caernavon, Kronborg, Windsor, Urbino, Berkeley, Amboise, Loches, etc., etc., are valuable studies. For example, Conway, half castle, half palace, contains Early Decorated architecture in Queen Eleanor's Oratory and fine lancet windows ; the donjon of Arundel dates from the days of King Alfred ; Warwick, one of the few mediaeval fortresses that -
A Text-Book of the Histor(Bookos.Org)
COLLEGE HISTORIES OF ART EDITED BY JOHN C. VAN DYKE, L.H.D. HISTORY OF ARCHITECTURE A. D. F. HAMLIN COLLEGE HISTORIES OF ART EDITED BY JOHN C. VAN DYKE, L.H.D. PROFESSOR OF THE HISTORY OF ART IN RUTGERS COLLEGE HISTORY OF PAINTING By JOHN C. VAN DYKE, the Editor of the Series. With Frontispiece and 110 Illustrations, Bibliographies, and Index. Crown 8vo, HISTORY OF ARCHITECTURE By ALFRED D. F. HAMLIN, A.M. Adjunct Professor of Architecture, Columbia College, New York. With Frontispiece and 229 Illustrations and Diagrams, Bibliographies, Glossary, Index of Architects, and a General Index. Crown 8vo, HISTORY OF SCULPTURE By ALLAN MARQUAND, Ph.D., L.H.D. and ARTHUR L. FROTHINGHAM, Jr., Ph.D., Professors of Archæology and the History of Art in Princeton University. With Frontispiece and 112 Illustrations. Crown 8vo, THE PARTHENON, ATHENS, AS RESTORED BY CH. CHIPIEZ. (From model in Metropolitan Museum, New York.) A TEXT-BOOK OF THE HI S T O R Y O F ARCHITECTURE BY A. D. F. HAMLIN, A.M. PROFESSOR OF THE HISTORY OF ARCHITECTURE IN THE SCHOOL OF ARCHITECTURE, COLUMBIA UNIVERSITY SEVENTH EDITION REVISED LONGMANS, GREEN, AND CO. 91 AND 93 FIFTH AVENUE, NEW YORK LONDON, BOMBAY, AND CALCUTTA 1909 PREFACE. THE aim of this work has been to sketch the various periods and styles of architecture with the broadest possible strokes, and to mention, with such brief characterization as seemed permissible or necessary, the most important works of each period or style. Extreme condensation in presenting the leading facts of architectural history has been necessary, and much that would rightly claim place in a larger work has been omitted here. -
Inventory of Earthquake Induced Failure Mechanisms
NEW INTEGRATED KNOWLEDGE BASED NIKER APPROACHES TO THE PROTECTION OF CULTURAL Grant Agreement n° HERITAGE FROM EARTHQUAKE-INDUCED RISK 244123 Deliverable 3.1 Inventory of earthquake-induced failure mechanisms related to construction types, structural elements, and materials Due date: April 2010 Submission date: September 2010 Issued by: POLIMI WORKPACKAGE 3: Damage based selection of technologies Leader: POLIMI PROJECT N°: 244123 ACRONYM: NIKER TITLE: New integrated knowledge based approaches to the protection of cultural heritage from earthquake-induced risk COORDINATOR: Università di Padova (Italy) START DATE: 01 January 2010 START DATE: 01 January 2010 INSTRUMENT: Collaborative Project Small or medium scale focused research project THEME: Environment (including Climate Change) Dissemination level: PU Rev: FIN NEW INTEGRATED KNOWLEDGE BASED NIKER APPROACHES TO THE PROTECTION OF CULTURAL Grant Agreement n° HERITAGE FROM EARTHQUAKE-INDUCED RISK 244123 INDEX INDEX ............................................................................................................................................... 1 1 2 2 INTRODUCTION ....................................................................................................................... 3 2.1 Description and objectives of the workpackage ................................................................. 3 2.2 Objectives and structure of the deliverable ........................................................................ 3 3 SEISMIC DAMAGES ................................................................................................................ -
Downloaded from Brill.Com09/30/2021 05:22:54AM Via Free Access 142 Appendix 1
Appendix 1 Glossary Ablaq whether they have a roof, bretèche can be classified into two Arabic term for the alternate placing of stones of different co- types: open and closed. The open type can be assessed from the lours, light and dark, in the frame of a door or window. The tech- battlement, chemin de ronde or from a crenel. nique probably originated in Syria in the Byzantine period and is first recorded in Islamic architecture in repairs carried out in Brazier the north wall of the Great Mosque of Damascus dated to 1109. Movable fireplace of metal, stone or ceramic which was in com- It became very typical in Mamluk mosques and madrasas and is mon use in many regions prior to the introduction of the fire- only occasionally found in Frankish architecture. place and wall chimney. Ashlar Casal (Fr) (Lat: casale, casalia) Large, squared building stones usually applied as a facing on a Term for village which was in common use in the Latin East rubble core or at the quoins (corners) of structures otherwise originated in Western Europe and stemmed from the Latin constructed of coarse masonry to form an accurate angle. word casa (house or farm); casal being a cluster of houses in a rural setting. Occasionally it is referred to in equivalent terms Barrel-vault such as feuda, and villae, but casal (casale) is the most frequent Known also as a tunnel-vault, the barrel-vault is an extended form found in medieval charters and documents. In the Latin arch forming curved, semi-cylindrical roofing. -
Roman Building 308
Roman building 308 363 Restoration of the corner of a wall at Herculaneum (Insula II) following the earthquake of 62. 364 Masonry at Herculaneum (III, 14) built after the earthquake of 62 with reused material, including a number of smashed amphorae. Masonry construction 309 365 Pompeii, reconstruction after the earthquake of 62. Wall made up of varied terracotta material: bricks, tiles, fragments of amphorae (IX, 6, 3). 366 Pompeii, restoration of a wall after the earthquake of 62. Among the reused material are pieces of opus signinum paving (VI, 7, 2). Roman building 310 367 A masonry column of the Great Palaestra, Pompeii, fixed into place with a layer of lead (visible at the level of the scotia) after the earthquake of 62. is done nowadays with these artificial materials (for instance VI, 7, 2 and particularly the lower portico of the villa of Diomedes). At the Large Palaestra, bordering the amphitheatre, a particularly original solution was found to put back in place accurately the columns that had been shaken by the quake. These were set upright, probably using cranes, then once in position a hole was dug at Masonry construction 311 their foot, into which lead was poured. This set much faster than mortar, permanently wedging them into place (fig. 367). The ruin of the houses, as well as the departure of the owners, brought about a change in use of certain houses that were renovated, divided between several new occupants (such as the House of the Cryptoporticus) and sometimes turned into workshops or business premises (fig. 368). In well-organized reconstructions, both public and private, great use was made of brick, a standardized material quick to produce and use that could, if necessary, be combined with the recovered rubble (fig.