9.
cella: *
see illustration
​
​
​
​
​
​
​
​
10.
vaults (of Gothic naves): *
a groin vault is produced by the intersection at right angles of two barrel vaults, the "groin" refers to the edge between the intersecting vaults; sometimes the arches are pointed instead of round; relative to the barrel vault, it provides good economies of material & labour: thrust is concentrated along the groins (4 diagonal edges formed along the points at the intersection) & therefor need only to be abutted at 4 corners; a ribbed vault is a groin vault edged with an armature of piped masonry often carved in decorative patterns. The thrust of a ribbed vault is identical to the groined vault, but it demonstrates the skill of the masons & grandeur of the Gothic architecture (late 11th century). The new technique is visible in the roofs of the choir side-aisles at Durham Cathedral & Romanesque ancestors of the Gothic rib vault can be found in early Gothic constructions at Caen & Durham.
and see 2 illustrations
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
11.
Archaic sculpture: *
see illustrations
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
12.
Classic relief: *
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
13.
his landscapes (C. Lorraine):*
see illustration
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
14.
Impressionism:*
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
15.
barrel vault (roofing): *
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
​
16.
Cathedral of Florence cupola: *
.
​
​
​
​
​
​
​
​
​
​
​
​
​
​
17.
Michelangelo & St Peter’s dome: *
Michelangelo left a few early drawing of the dome, some details & a large wooden model. These indicates his early intentions were towards an ovoid dome (rather than a hemispherical). Just prior to his death it seems that Michelangelo raised the outer dome higher above the inner one giving it a more pointed shape. His vision extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit. The unity provide by the by the encircling band of the deep cornice suggests that the ovoid profile was an essential part of Michelangelo's first & last concept. The dome appears to thrust upwards because of the pressure created by flattening the building's angles & restraining its projections. It is not merely a structural solution but part of the integrated design solution that is about visual tension and compression. It prefigures the architecture of the Baroque
​
​
18.
early Doric geometric in opposition to Minoan: *
6 illustrations
​
​
​
​
​
​
​
​
​
​
​
​
​
Renaissance groin vault in the church of Santa Maria dei Carmini in Venice. 14th century
Reims Cathedral (Our Lady of Reims), French
High Gothic 1211-1275
The Peplos Kore 530 BC Paros marble
Leading work of an Attic workshop. She is wearing a garment called peplos. It is possible that the statue does not represent a Kore, but the Goddess Artemis with arrows and a bow in her hands.
Attic Kouros, Archaic 590–580 B.C. marble from Naxos
one of the earliest marble statues of a human figure from Attica, The rigid stance, with the left leg forward and arms at the side, was derived from Egyptian art. The pose provided a clear, simple formula used by Greek sculptors throughout 6th century B.C. In this early figure, almost abstract, geometric forms predominate; and anatomical details are rendered in beautiful analogous patterns. The statue marked the grave of a young Athenian aristocrat.
Panathenaic procession, Ionic frieze running around the exterior walls of the cella, (the inside structure of the Parthenon), 442 BC-438 BC.
The heavily draped women walk solemnly with down turned heads, in contrast to the dynamic male figures that dominate the frieze. They are the kanephoroi, virgins from noble families. Many of them holding ritual objects suggest that the maidens served as sacrificial attendants. The inclusion of the maidens here would be understood in relationship to the roles they will play in maintaining the stock of Athenian citizens.
Worship of the Golden Calf (1653)
A biblical scene but the landscape is the predominant element.
Starry Night by Vincent van Gogh (1899) oil on canvas; depicts view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village.
see illustration
Basilica of Sainte-Marie-Madeleine, Benedictine & Cluniac monastery in Vézelay, N. Burgundy, France. This abbey church is one of the outstanding masterpieces of Burgundian Romanesque art and architecture. About 1050 the monks of Vézelay began to claim to hold the relics of Mary Magdalene and this led to an influx of pilgrims. To accommodate the pilgrims a new abbey church was begun, dedicated in 1104.
Brunelleschi again had to compete for the lantern (cupola); he had been working on a design for this element as evidence by the curvature of the dome which was made steeper than the original model. His design included an octagonal lantern with 8 radiating buttresses & 8 high arched windows; it was built after his death in 1446; the gilt copper sphere and cross on top of the lantern (containing holy relics) was designed by Verrocchio
image of wrestlers, pottery, Greek geometric style, 8th century BC, Argos
​
​
​
​
​
​
​
​
metal object small bronze figurines, late 8th century BC, Greek, votive offerings associated with sanctuaries
​
​
​
​
​
​
​
​
​
​
vase, early Greek Archaic, 9-8th century BC, covered in narrow encircling bands of small tight
zig zags, triagles, diamonds, swastikas & circles
Palace-Bull-Leaper-fresco-Knossos Crete-Minoean-from Arthur Evans reconstruction of Knossos Minoan archaeological site, Crete
​
​
​
​
​
"Ladies in Blue" fresco Late Minoan- 1525–1450 BC, painted plaster
​
​
​
​
​
​
​
​
​
​
​
Octopus Jar Palaikastro, Minoan, Crete, 1500 BC