[YOUR LAST NAME] 1 [YOUR NAME] [PROFESSOR’S NAME] [COURSE NAME] [DATE] Classical Sculpture Classical sculpture did not appear from nothing; its genesis was not that of Athena’s birth from the head of Zeus, but a rather more sedate process. The roots of classical sculpture are, surprisingly, to be found in Egypt. The Egyptians had highly developed sculpture, most of which had religious implications, as can be seen by the hieroglyphic inscriptions on many of the pieces (Wilkinson, 34-37). Subjects of sculptures included the numerous gods and goddesses of the Egyptian pantheon, pharoahs (who were considered divine) and slaves and other figures created for inclusion in burials; these sculptures, along with real items (e.g., chariots) would become part of the deceased’s “estate” in the afterlife (ibid., 64). The majority of Egyptian sculptures were all in the same style, regardless of whether they represented an animal-headed god, a king, or a scribe.
Compare and Contrast Ancient Architecture and Post-Modern Architecture Professor Howard HIS 182 May 4, 2009 Research Paper Professor Howard HIS 182 May 4, 2009 Research Paper Outline Compare and Contrast Ancient Architecture and Post-Modern Architecture Thesis Statement: Though the Ancient Architecture is different from the Post-Modern Architecture, in many aspects, their buildings are both very influential and exciting wonders of the world. I. Introduction a) Definition of Architecture: II. What is Ancient Architecture? a) What are the well-known structures of the Ancient Architecture?
They developed have used featured pillars with various kinds of architectural decorations which is commonly replicated today as classical orders. They introduced three main types of classical orders called Doric, Ionic and Corinthian. The Romans later adapted the Greek orders and developed two more classical orders called Tuscan and Composite. In Australia, it can be seen that there are more than one dominant classical styles of architecture. These styles are replicas of ancient inventions and would have been adapted to suit the local conditions and the materials by slightly
Instead of simply separating the different stories with drawn frames like many cathedrals did, Thornhill cleverly used the shape of the dome and the technique of shading to provide a pseudo morph of stereoscopic arches. Within each arch lies the important scenes of St. Paul, as if looking through a window and having the story replay in front of us. Only until 1864, the idea of mosaics that was once criticized was being reconsidered again for the decoration of the eight spandrels under the dome. The creator of the Wellington memorial in the Cathedral was commissioned to
There are two different pictures of the exterior and interior of Hagia Sophia on pages 156 Figure 7.4 and page 193 Figure 8.13in the book Experience Humanities by Roy T. Mathews, F. Dewitt Platt and Thomas F.X. Noble. The Hagia Sophia design constructed by combining three basilical plans with the dome plan design (Hagia Sophia: The Place of Holy Wisdom). The structure was based on Byzantine Empire with a combination of Early Greek and Roman style along with Asian/Oriental influences (Hagia Sophia: The Place of Holy Wisdom). The construction of the large dome was on a square base rather than having a vaulted roof (192).
Despite that, it has rather intriguing façade. At both east and west ends the main halls terminate in greatly simplified temple fronts in hard steel-blue bricks. However, by far the strongest impression is made by the multistoried parts with their repetitive bays and prominent access towers. The repetitive bays of the first four floors are slightly recessed within a flat brick colonnade. The doubled mullions above give the effect of a frieze which emphasizes classical syntax even
Ionic was found more in eastern Greece and the islands. An example of Ionic columns would be the temple of Erechtheum built on the acropolis of Athens. The last order is Corinthian, which had a very decorative capital designed with acanthus leaves. It was rarely found in Greek architecture, but was used more by the Romans. The oldest known example of the Corinthian order is the temple of Apollo at Bassae.
This can be seen by comparing two different Roman Basilicas in this way. Looking at Basilica Aemilia (Figure A) and Basilica Julia (Figure B) we can clearly see these differences, and the effect that they have on the space and layout of the building. Despite these differences, they all have key similarities which defines them as basilicas. (Figure A) Basilica Aemilia Floor Plan, Ward Perkins, J B Roman Imperial Architecture, Yale University Press/ Pelican history of art, 1992, page 35 (Figure B) Basilica Julia Floor Plan, Ward Perkins, J B Roman Imperial Architecture, Yale University Press/ Pelican history of art, 1992, page 35 “Though broadly similar in design, location, and purpose, they offer
Although, the Doric style was mainly used in mainland Greece and the Ionic style was used in the Islands and colonies to the east. The main structure of the temple was built by either marmaros (marble) or poros (limestone), the roof was made with marmaros or terracotta tiles. The temples could be decorated by carving figures into the stone, either on the columns or around the edges of the temple. Slabs at the top of the temple were carved in relief (the figures stood out from the surface of the stone). There were often little statues on top of the roof, sometimes flowers or figures.
The Golden Ratio is also known as the Golden Rectangle. The Golden Rectangle has the property that when a square is removed a smaller rectangle of the same shape remains, a smaller square can be removed and so on, resulting in a spiral pattern. Throughout the centuries, artists have used the golden ratio in their own creations. One example is the Parthenon in Athens. It was built about 440 B.C.