Course Pack - History of Architecture | ARCH 3115, Study notes of History of Architecture

Download Course Pack - History of Architecture | ARCH 3115 and more Study notes History of Architecture in PDF only on Docsity! 1 ARCHITECTURE 3115-90464: SURVEY OF ARCHITECTURAL HISTORY CALENDAR, FALL 2008 Professor Mark Schneider NOTE: All of the readings listed below are available to you on line through the Electronic Reserve system at Newman Library. See explanation at the end of this syllabus to learn how to access the readings. ses. day date topic & readings 1. TU AUG 26 INTRODUCTION TO THE COURSE 2. TR AUG 28 BEGINNINGS TO ANCIENT MESOPOTAMIA & THE NEAR EAST “Sacred Space and Making the World Sacred” in Mirca Eliade, The Sacred and the Profane (New York: Harcourt Brace & Co., 1987) pp. 20-65 “Chapter 3: Socio-Cultural Factors and House Form” in Amos Rapoport, House Form and Culture (Englewood Cliffs, N.J.: Prentice Hall. Inc., 1969) pp. 46-82 “Chapter 2: The Cave and the Sky: Stone Age Europe” in Spiro Kostof: A History of Architecture (New York: Oxford U. Press, 1985) pp. 21-41 3. TU SEP 2 EGYPT “Ancient Egypt” in Marian Moffett, Michael Fazio, Lawrence Wodehouse: Buildings Across Time (New York: McGraw-Hill, 2004) pp. 22-37 “Chapter 9: Homes for the People, the Pharaoh, and the Gods” in Douglas Brewer and Emily Teeter, Egypt and the Egyptians (New York: Cambridge U. Press, 1999) pp. 125- 145 4. TR SEP 4 BRONZE AGE CRETE “Architecture of Minoan Crete and the Mycenaean World” in Lloyd Seton, Hans Muller and Roland Martin: Ancient Architecture: Mesopotamia, Egypt, Crete, Greece (New York, H. N. Abrams, 1974) pp. 193-224 5. TU SEP 9 FROM THE BRONZE AGE TO HELLENIC TIMES 6. TR SEP 11 HOW THE GREEKS BUILT CITIES Hale, De Boer, Chanton, Spiller “Questioning the Delphic Oracle” in Scientific American, Vol. 289, August 2003, pp. 67-73 Lothar Haselberger, “The Construction plans for the Temple of Apollo at Didyma” in Scientific American, Vol. 283,. December 1985, pp. 126-132 7. TU SEP 16 THE PERICLEAN ACROPOLIS AT ATHENS “The Buildings” in R. J. Hopper: The Acropolis (New York: Macmillan, 1971) pp. 91-139 W SEPT 17: EXAM REVIEW HANCOCK 100 7:00PM TO 8:30PM 8. TR SEP 18 FIRST EXAM 9. TU SEP 23 EARLY ROME “Chapter 2: City and Site” in Joseph Rykwert: The Idea of a Town: The Anthropology of Urban Form in Rome, Italy and the Ancient World City and Site (Princeton, N.J.: Princeton University Press, 1976) pp. 41-71. “Pompeii, Herculaneum and Stabia” in Henri Stierlin: The Roman Empire Vol. 1: (New York: Taschen, 1986) pp. 95-123 2 10. TR SEP 25 ROMAN IMPERIAL ARCHITECTURE “ Book 1: First Principles and the Layout of Cities” in Vitruvius: The Ten Books on Architecture (Trans. by Ingred D. Rowlan) (New York: Cambridge, 1999) pp. 21-32 “Chapter 1: The Colosseum” in D. L. Bomgardner: The Story of the Roman Amphitheatre (NewYork: Routledge, 2000) pp. 1-31 FIRST 10 BUILDING DOCUMENTATION STUDIES DUE IN CLASS TR SEP 25 11. TU SEP 30 EARLY CHRISTIAN AND BYZANTINE ARCHITECTURE “ Chapter 2: Early Christian Buildings to AD 500” in Robert G. Calkins: Medieval Architecture in Western Europe (New York: Oxford, 1998) pp. 14-33 12. TR OCT 2 ISLAMIC ARCHITECTURE “The Flowering of the Desert: Islam” in Patrick Nuttgens: The Story of Architecture (London: Phaidon Press, Ltd. 1998) pp. 144-157 “Chapter 4: Architectural Order” in Samer Akkach: Cosmology and Architecture in Premodern Islam (Albany: State U. of New York, 2005) pp. 149-206 13. TU OCT 7 THE ARCHITECTURE OF INDIAN ASIA “Chapter 2: City and Temple Layout” in Andreas Volwahsen: Living Architecture: Indian (New York: Grosset & Dunlap, 1969) pp. 43-58 14. TR OCT 9 MAYA ARCHITECTURE “Chapter 1: Pyramid-Mountains and Plaza-Seas” in Linda Schele & Peter Mathews: The Code of Kings (New York: Touchstone, 1998) pp. 13-61 15. TU OCT 14 EARLY MEDIEVAL EUROPE AND THE CAROLINGIAN RENAISSANCE “Chapter 14: Early Medieval Architecture” in Leland Roth: Understanding Architecture (New York, Icon Editions, 1993) pp. 265-289 WED SEPT 15 EXAM REVIEW HANCOCK 100 7:00PM TO 8:30PM 16. TR OCT 16 SECOND EXAM 17. TU OCT 21 ROMANESQUE ARCHITECTURE “Chapter 1: Historical Background” in Whitney S. Stoddard: Art and Architecture in Medieval France (New York, Harper and Row, 1972) pp. 3-11 18. TR OCT 23 SECULAR ARCHITECTURE IN THE MIDDLE AGES “Chapter 3: Official Recognition” in Maurice Beresford and John Hurst: Wharram Percy, Deserted Medieval Village (New Haven: Yale U. Press, 1991) pp. 52-68 and selected plates. 19. TU OCT 28 THE ABBOT SUGER AND THE BEGINNINGS OF THE GOTHIC “Chapter 2: Measure and Light” in Otto von Simson: The Gothic Cathedral (New York: Pantheon Books, 1965) pp. 21-58 Excerpted passage from Erwin Panofsky: Abbot Suger on the Abbey Church of St. Denis (Princeton, N.J.: Princeton U. Press, 1979) pp. 18-33 20. TR OCT 30 HIGH GOTHIC ARCHITECTURE http://www.unc.edu/courses/rometech/public/content/arts_and_crafts/Susan_Hampto n/Roman_Glass.html Susan Hampton: “Glassmaking in Antiquity” 5 ARCH 3115 BUILDING DOCUMENTATION PROJECT One of the objectives of this course is to familiarize you with some of the major masterworks of historic architecture. Ideally, we learn to know a building by visiting it, however we will not have the opportunity to do that in this class. A good way to get to know the basic facts that an architect should know about a building is to prepare a building documentation sheet on it. The sheet below on Hagia Sophia is an example of this kind of documentation. By the time you have prepared the sheet you will have memorized some important information, both verbal and visual about it. And, for review purposes, you always have the sheet you made to refer back to if necessary. You will also be able to use this information on the exams. REQUIREMENTS Work individually, not in groups. Prepare one 8.5” x 11” documentation sheet for each of the thirty buildings listed below. Because we have so many to handle, no other sheet size will be acceptable, but you may use either vertical or landscape format. The documentation is to include all of the following: (be sure to label each section of your description.) 1. Plan, section, and an elevation or perspective of the building 2. Name of the building and the meaning of the name, if in a foreign language 3. Location 4. Key dates 5. Function(s) past and present 6. Architects (if known) 7. Key dimensions 8. Materials (be as specific as possible; e.g. “pink granite” is more specific than “stone.” 9. Important features 10. Structural system (e.g.: post and lintel, timber truss, masonry vault) 11. Symbolism (what the building represents about its function and the people who built it) MEDIA You may compose your documentation sheets using a scanner and page composition software such as PageMaker or Indesign, or you can draw them by hand. If you do them by hand, you will probably want to do them at a larger scale and reduce them using a scanner and image adjustment software such as Photoshop. QUALITY The objective in this project is not to be inventive or “original,” but to produce good, clear work. Simplicity and neatness are virtues. You may scan plans, sections, elevations, and perspectives from books or web sources, or, if you can’t find what you need, you may draw them. QUOTATIONS AND DOCUMENTATION Document all sources using standard methods (See the MLA or the Chicago Style Manual). Be sure to clearly distinguish any text that you quote from text that you write yourself. You can do this with quotation marks. To save space you can number your sources and put all of your references on a separate sheet. Give complete web addresses for sources you find on- line. Submit sheets loose in a pocket folder with your name and student number on the outside. “UMO} URIOY OU) JO SNUBWNZEpP pUe OPsed By) Oy] SUCNOEJIP Jeulpseo sno} ayy y4eW Os]e SeWOP Jey INO} ey “eroge SUBABAY BU} S| BWOP BY} ‘WSOSOJOIW BY) PUB YRS OU} S$] AqNd aYyI—eSJEAIUN 84} JO AyI/e}0} ey) SJUesedey eqno euy Bununowuns ewop ey, ‘enbsow e 0} peyeAuoo sem YoINYyo uy} UBYM pappe aiom (Aep & Sel) BAY Aid 0} SWIISNY yo Sulzzenw ayy YOIYM WO4J) SJesBUI AY “Ayaysidegq ayy jo ued pazijesjued eyy YUM BOIIISeq ay) SUIQUIOS 0} JdweHe ue WOJ} S}INSEJ SACU BU} JO WO} peyeBuoje ey :wslOquiAS ‘Auiqeys eseesoul 0} ubledwieo Ng urew oy} Jaye pappe A\qeqoud ‘seoeid ul sesseinq Bulky eaissew aAey SIJeM JOA}Xe OY] “S| H OY} 0} SLUOP JeJUSO OU} JO ISNIY} [es9}e] OU} JOJSUEI} O} djoy, S@WOP Jey YOIYM Ul WAa}sAs jedILWOp xejdWOD e YIM payner sl eIydos ‘S ‘seoliseq UEWOY oyI|UP) :Wa}sAg JeANONAAS bur isMayy [eseye| Sse] Buiney ewop J9|/e} YUM peoedes sem y “YEU eJ0jeq pereedde pey syoeJ0 yBnou) ‘eyenbyyee ue 0} enp 8G¢ Ul pasde|joo ewop ey “uleds puke eoueJ- Jo seyouNyo enbseuewoy oy} ul Jaye] sseadde osye YyoIyM yseJ app!) Ou} WO BOUENIJUI Ue S| SedIISeq UBWOY OI] JOO1 SSN} JOQUI ueU} Jouyes Bunjnen jo asn ou, :seanjeay yueWoduy] YOUUg JO BPEU! S| BWOP sy} ‘sse|B ‘ouO}sS jesNjOMS :s}eUaIeY JO0}} Oy} PAOge 199) GQ SIS81 PUR JEJOWIDP Ul Jo9} 80} SI ewOp ey “ueId Ul 189) OFZ X OLZ :suoIsUeWIg Aey IS] pue SOlWEUY :syeHYyouy “winasnu & MOU SI }| ESP}. Ul AyD ey) paseNbuUOD syN| BUyy uaym enbsoy e ewedaq eIydos ‘s ‘UeIUNISNP JOKedWe OU) Jepun ying ‘sew UeWOoY U! YoNYo We\sey uy :uoROUN Gv ZeS-zeg uoNonsu0D :sayeq hoy (inqueys|) (inyuezXg) ejdounueysuog :u0Ne907 ‘wopsij Ajo = e1ydos eibey ‘Burueay 9 oweN SRI ge eo, aah & OLAS NOISY) Bf “ta " suave wo) A NOLWWaOS 3A00 30 So)  7 BUILDINGS LIST: for Building Documentation Project Set One (to be submitted in class Thurs. Sept. 25) •Stonehenge, Salisbury England,, 2750—1500 BCE •Ziggurat of Ur—Nammu, c. 2000 BCE •Pyramid of Cheops, Giza, Egypt, Third Dynasty 2570—2500 BCE •Temple of Amon, Luxor, Egypt 1417—1417-1379 BCE •Royal “Palace” Crete 1600 BCE •Parthenon, Athens Greece, 447-432 BCE •Coliseum (Flavian Amphitheater), Rome Italy, 72-80 CE •Pantheon, Rome, 120-127 CE •Maison Carrée, Nimes France, c. 19 BCE •Basilica of Trajan, Rome, 98-112 CE Set Two (to be submitted in class Thurs. Oct. 30) •San Vitale Ravenna, Italy 532-548 CE •S. Apollinare in Classe, Ravenna 534—539 CE •The bazaar at Isfahan (West central Iran) 17th century & later •Khwaja Bridge, Isfahan, Iran (mid 17th century) •Great Mosque Cordoba, Spain 784—ff CE •Hindu Sun Temple of Konarak (India) 1250 CE •Stupa of Borobudur, Java 700 CE •Central Plaza & temples, Tikal, Guatamala •Palatine Chapel, Aachen, Germany, 805 CE •Saint-Sernin, Toulouse France 1060—1119 CE Set Three (to be submitted in class Tues Dec. 9) •Laon Cathedral, Laon France 1160-1250 •Bourges Cathedral, Bourges France 1195-1255 •Salisbury Cathedral, Salisbury England 1220—1260 •Cologne Cathedral, Cologne Germany Begun 1248 •Dome of Florence Cathedral 1404ff Brunelleschi) •Old Sacristy of San Lorenzo, Florence 1422-8 (Brunelleschi) •Palazzo Medici, Florence 1396ff, (Michelozzi) •Tempietto, Rome 1502, (Bramante) •Palazzo Del Te, Mantua 1525—1535 (Giulio Romano) •Laurentian Library at San Lorenzo, Florence, 1525 (Michelangelo) 10 ISSUES FOR LECTURE 2 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What did the cave paintings at Altamira and Lascaux represent? 2. How does a corbelled arch differ from a true arch? 3. What was Stonehenge and what are some of the main features of its construction? 4. What was Mesopotamia, and how did the people who lived in that area sustain themselves? 5. What is a ziggurat? 6. Who was Gudea? 7. In what sorts of houses did people live, in cities like Ur? 8. What kinds of laws were developed by the Babylonians for dealing with architects and surgeons, and how do they compare with ours? 9. How did the Persians treat the peoples they conquered, and how did this treatment help the Persian empire to survive? 10. Describe the ceremonial palaces of Darius and Xerxes at Persepolis. What was the significance of the relief carving on the walls of the exterior stairways and other features? 11. What function might the cave paintings at Altamira and Lascaux have had for the people who made them? 12. What is the basic alignment of the heel stone at Stonehenge and why might the people who built it have been particularly interested in that alignment? 13. What connection might there be between the Biblical stories of the Ark and the Garden of Eden and the physical geography of Mesopotamia? 14. What was the Tower of Babel according to the Bible and according to the archaeology of Babylon? 15. What might the cultural function of the Epic of Gilgamesh have been? (Is it a myth?) 16. Why did the Sumerians refer to their temples as "waiting rooms?" 17. Can it be said that a ruler like Sadam Hussain was merely following in the tradition of absolute monarchical authority, which has always been characteristic of government in the Mesopotamian region? 11 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 2 3. This structure, located at Ur in present-day Iran, is called a __________________. 1. Mastaba, 2. Ziggurat, 3. Step pyramid, 4.Urratus 4. The building on top of this structure was a______. 1. Temple, 2. Church, 3. Step pyramid, 4. Mastaba 5. The building on top of this structure was considered_________________. 1. A place where the congregation could meet their God. 2. A residence for priests. 3. A house in which a god was invited to reside. 4. A symbol of the common people. 6. Who was buried in this structure? 1. The king, 2. A pharaoh, 3. Urius, 4. Nobody 7. This structure was built circa_______________. 1.100 BCE, 2.1000BCE, 3.2000 BCE, 4. 3000BCE 1. Which one of the following is true? 1. The oldest man-made dwellings pre-date the arrival of homo sapiens. 2. The oldest man-made dwellings post-date the arrival of homo sapiens. 3. The oldest man-made dwellings are coincident in time with the arrival of homo sapiens. 4. The oldest man-made dwellings were created by Piltdown man. 2. Which one of the following is a plausible explanation of the primary astronomical orientation of Stonehenge? 1. Stonehenge is oriented toward toward Mars because the red planet was thought to insure fertility. 2. Stonehenge was used to keep track of the phases of Venus. 3. Stonehenge is oriented toward the place where Haley’s comet first appeared. 4. Stonehenge is oriented toward the position of the sun at solstice on the eastern horizon. 12 SESSION 3: EGYPT NAMES AND TERMS Archaic Period: 3100 to 2700 BC Batter: in architecture, the slope of a wall surface. Greek Period: 332 to 30 BC Heb-Sed: a jubilee festival celebrating the reconsecration of the pharaoh's rule. Hypostyle: an architectural space containing a continuous grid of columns. Late Period: 712 to 332 BC Lower Egypt: Egypt from the Delta to Memphis. Middle Kingdom: 2040 to 1640 BC (Note that the Old, Middle, and New Kingdoms are separated by so- called "Intermediate Periods.") New Kingdom: 1550 to 1070 BC Old Kingdom: 2700 to 2200 BC Peristyle: a ring of columns arranged around a building or the perimeter of a courtyard. Portrait mask: a covering for the head and upper body of the deceased representing their appearance in life. Procession of the Divine Barque: ceremony in which priests carry the cult boat of the (new) sun god Amun for a trip by water and land between Karnak and Luxor. Pylon Temple: form of Egyptian temple consisting of a series of pylons (battered walls), peristyle courts and hypostyle rooms arranged in sequence along an axis with an inner sanctum for the cult statue in a chamber farthest from the entrance. Rock cut temple: a temple carved out of solid stone and sometimes having the appearance of a temple assembled out of individual stones in the normal way. Roman Period: 30 BC to 395 AD Tall House: A traditional Egyptian house form of up to four stories. Upper Egypt: Egypt from Memphis to Aswan MAJOR STRUCTURES AND SITES Pyramid Complex of King Djoser (Zosor), Saqqara, Old Kingdom, 3rd Dynasty c. 2675-2625 BC. Bent Pyramid of King Seneferu, Dahshour, Old Kingdom, 4th Dynasty, c 2570 BC Giza (Gizeh) Pyramids: Cheops, Chephren, Mycerinus Old Kingdom, 4th Dynasty, c 2500 BC Valley Temple of Chephren, Old Kingdom 4th Dynasty, c. 2500 BC Sphinx at Gizeh, Old Kingdom, 4th dynasty, c. 2550 BC Temple Complex of Karnak, Temple of Amun-Re: New Kingdom, 19th Dynasty c. 1290-1250 BC Temple Complex of Luxor: New Kingdom, Dynasty 19, c. 1280-1220 BC Avenue of the sphinxes (Luxor) New kingdom, 18th Dynasty, c 1380 BC Temple of Mentuhotep II (directly across the Nile from Karnak/Luxor at Dier el-Bahri), Middle Kingdom, 11th Dynasty, c 2400 BC Mortuary Temple of Queen Hatshepsut, at Dier el-Bahri, New Kingdom, 18th Dynasty, c 1470 BC Temple of Horus, Edfu, New Kingdom, Ptoemaic Period, c. 237-71 BC 15 Session 4: BRONZE AGE CRETE NAMES AND TERMS: Amphora: a large, tall, slim, two-handled Greek storage jar. axis mundi: a mythical axis of the world connecting heaven and earth. black figure/red figure pottery: in early Greek pottery the silhouetting of black or red figures against a background of the other color. bricolage: a French term used in English to denote the activity of the tinkerer who is called a bricoleur in French. Crete: island in the Mediterranean sea between Egypt and Greece—the location of the Minoan civilization in Bronze Age times. cosmogenesis: the process by which the world (universe or everything that exists) came into being. Daedalus: figure in Greek mythology who was an architect/magician/maker/philosopher (you will also find it spelled Daidalos). The name means “artful craftsman”, and he is thought of as both clever and cunning. He is also sometimes represented as having magical powers. ex nihilo: Latin = out of nothing. genius loci: Latin = the spirit (genius) of the place (loci). Icarus: mythical son of Daedalus who ignored his father’s advice and flew too close to the sun. As a result the wax bound wings Daedalus made for him melted and he fell into the sea and drowned. Knossos: bronze age city on Crete thought to be associated (but perhaps only in mythology) with King Minos and the labyrinth in which the Minotaur was contained. labyrinth: in Greek mythology, the maze-like structure in which the Minotaur was confined. The labyrinth was an invention of the architect Daedalus. Krater: A mixing bowl having a wide mouth and body with two handles projecting vertically from the juncture of the neck and body. Used to mix wine and water. larnax: a clay sarcophagus. linear B: an early form of the Greek language found inscribed on tablets at Crete and Mycenae. Magna Mater: the great Mother Goddess worshiped (in this case) by the Minoans of Crete. Meander: the name of a river in Greece associated with mythology, and hence, by comparison, the convoluted geometric figures on Greek pottery of the geometric period. megaron: a rectangular hall fronted by an open, two-columned porch, traditional in Greece since Mycenaean times. Minotaur: in Greek mythology, a monster with a man’s body and the head of a bull which was the offspring of a copulation between Pasiphae, the wife of King Minos of Crete, and the bull Minos obtained from the sea god Poseidon. mortise and tenon: a type of joint in which a rectangular hole (mortise) in one piece receives a rectangular projection (tenon) on another piece. Mount Jouctas: sacred mountain visible from the “palace” at Knossos. Omphalos: in classical Greek, the world egg, the midpoint of the earth, the center from which all originated. propylon (also propylaion and propylaeum): a gateway building leading to a sacred precinct or temple. Pyxis rhyton: a drinking cup or horn, often shaped like an animal’s head. trireme: an ancient warship with a rowing crew of about 200 arranged in three horizontal rows at different levels along the side of the ship. Thera: island not too far from Crete which was the site of an enormous volcanic eruption around 1470 BC which is thought to have done extensive damage on Crete. ISSUES FOR LECTURE 4 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What is the significance of the omphalos in mythology? 16 2. What are some possible connections between the mythical concept of the omphalos and the concepts of the geometrical point, line, plane and solid? 3. How were Greek and Minoan ships built in ancient times? 4. What reason is there to believe that the main buildings of Crete at Knossos and other places were not palaces but temples? 5. Describe the basic life and culture of Bronze Age Crete. 6. What role did bulls play in the rituals of Bronze Age Crete? 7. What are the different skin colors in Minoan frescos thought to represent? 8. What was the function of the clay tablets kept on Crete, and how do they happen to be preserved? 9. What sorts of craft artifacts were produced on Crete during the Bronze Age? 10. Describe what is known of the organization and buildings in Minoan towns. 11. Compare and contrast the Minoan palace at Knossos with a monastery like St. Gall (c. 819 AD) in Switzerland. Is the structure at Knossos better understood on the religious model of a monastery and, if so, why? 12. Can you see any possible connection between the myth of Daedalus and the concept of the architect historically, and even today? 13. Why do you suppose the columns on Crete exhibit an inverted entasis? What might they symbolize? 14. What connections might there be between the sacred horns framing Mt. Jouctas at Knossos and the scene represented in the so-called “Bull Leaping fresco?” 15. What would you say is the main difference between our understanding of genius loci today and the way it was understood by historical peoples such as the Minoans? 16. What do we miss if we think of everything that is nonfunctional in architecture as “decoration”? What is decoration? What is the etymology of this very important term? EXODUS 19: In the third month after the sons of Israel had gone out of the land of Egypt, on that very day they came into the wilderness of Sinai. 2 When they set out from Rephidim, they came to the wilderness of Sinai, and camped in the wilderness; and there Israel camped in front of the mountain. 3 And Moses went up to God and the Lord called him from the mountain saying. “Thus you shall say to the house of Jacob and tell the sons of Israel: 17 And Moses brought the people out of the camp to meet God, and they stood at the foot of the mountain. 18 Now Mount Sinai was all in smoke because the Lord descended upon it in fire: and its smoke ascended like the smoke of a furnace, and the whole mountain quaked violently. 19 When the sound of the trumpet grew louder and louder, Moses spoke and God answered him with thunder. 20 And the Lord came down on Mount Sinai, to the top of the mountain, and the Lord called Moses to the top of the mountain and Moses went up. 21 The Lord spoke to Moses, “Go down, warn the people lest they break through to the Lord to gaze, and many of them perish. 17 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 4 15. This is a plan view of the _________________________. 1. Grave circle at Mycenae, 2. The Citadel at Troy, 3. The storage complex at Knossos, 4. The fortress at Smyrna 16. Today, the upper parts of this complex are thought to have functioned as__________________________. 1. A Minoan monastic complex, 2. A castle, 3. A residential complex, 4. A palace 17. In Greek mythology, these foundations are attributed to__. 1. The Gorgons, 2. Daedalus, 3. Agamemnon, 4. A Cyclops 18. This mythical figure, __________, is also said to have designed the Labyrinth to contain the Minotaur. 1. King Minos, 2. Darius, 3. Ariadne, 4. Daedalus 19. The concept which seems to link the characteristic gesture of the Creten snake goddess, Potnia, the double bit gold axe heads, and the bull is_____________________ 1. the idea of two vertical elements parallel to each other, perhaps symbolizing consecration or the female principle in this apparently matrilineal society. 2. the idea of two horizontal elements parallel to each other, perhaps symbolizing death in this apparently patrilineal society. 3. the idea of two crossed elements symbolizing bull leaping. 4. the idea of two trees representing a double axis mundi. 20 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 5 15. The capital illustrated below is not an Ionic capital but an ___________capital. 1. composite 2. Doric 3. Aeolic 4. bug-eyed 16. In the Greek temple of Zeus at Akragus, below, the 25 foot tall chaps holding up the architraves are called 1. giants, 2. Cariatids 3. Atlantes 4. Gorgons 13. This tomb form, known as a_____________ was used by royal Mycenaean families. 1. Mastaba, 2. Tholos or “bee hive” tomb 3. Conus, 4. Grave circle 14. As a precaution against grave robbers, the entrance cutting or dromos was____________________. 1. Dug deeper each year, 2. Filled with sharp rocks, 3. Filled with branches which could be set on fire, 4. Filled with earth and sodded to blend with the surrounding hills. 21 Session 6: HOW THE GREEKS BUILT CITIES NAMES AND TERMS architrave: a beam spanning columns. adytum: inner sanctum or forbidden area of a large temple replacing the cella and usually open to the sky. Agora: the secular precinct(s) of a Greek town or city where trade and governmental activities were carried out. andron: dining room in a Greek house. bouleuterion: a Greek council chamber. the Boule was the elected representative council. drum: one of the stone sections forming a column. Epaulinus: Greek engineer famous for the 3,300 foot water tunnel through Mt. Castro at Samos. Horns of Hymettos: sacred mountain in Athens with two peaks. Mt. Jouctas: sacred mountain on Crete. Mt. Lycabettos: sacred mountain in Athens. naiskos: a small temple-like sanctuary within an adytum. orchestra: the stage circle in the center of a classical Greek theater where actors and chorus performed. polar coordinates: used to give the location of a point by means of an angle and the length of a line rather than by distances from an x axis and a y axis. polis: the Greek city, with particular reference to its people and government. The acropolis is ‘above’ the polis. Priene: Greek colonial town in Turkey. stoa: a long colonnaded structure in an agora for shops, markets, offices and other secular activities. skene: stone scene building added behind the orchestra of a Greek theater in Hellenistic times temenos: the sacred precinct of a Greek town or city where the religious buildings were located. tetraktys: in Pythagorean mathematics , the triangle representing the numbers 1,2,3,4, summing to 10 and also symbolizing the emanation of the four primary elements (earth, air, fire and water) from the primordial number 1 representing the omphalos or world egg. BUILDINGS DISCUSSED Temple of Apollo at Didyma, c. 334 BC. (South of the present-day Turkish town of Soke.) Greek colonial town of Miletus, 5th- 2nd c. BC. (Miletus is in Turkey) Acropolis at Athens, first occupied as early as 8000 BC. ISSUES FOR LECTURE 6 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. Where were the drawings for the Temple of Apollo at Didyma found, and what did they show? 2. What are some of the basic differences between Doric and Ionic temples and how were these differences used symbolically? 3. What landscape features figured in the siting of a typical Greek temple and why? 4. What was the Universal Harmony? 5. How did the Greek concept of space differ from the perspectival understanding of space in the Renaissance? 6. Explain the design and functions of a Greek agora. 7. In what sense was the stoa a “loose” fit building? 22 8. Explain the layout of the Greek theater and how it changed over time. 9. Describe the parti or layout of a typical Greek residence. 10. What was remarkable about Epaulinus’ tunnel? 11. Draw the Doric and Ionic orders and label the names of the parts. 12. Why did the Greeks use entaisis on columns and other slants and subtle curves in the design of their temples? Why did they make adjustments to the pure geometry of their temples? 13. Explain the basic geometry of the temenos or sacred precinct on the Acropolis at Athens according to Doxiadis. Compare this geometry with the orthogonal geometry of a typical Renaissance one point perspective painting. What is the difference in the way buildings stand in relation to the viewer in each case? Why do you suppose the Greeks preferred to use a polar coordinate orientation rather than an orthogonal one? 14. Explain how the Greek temenos and agora might be seen as exemplifying Rossi’s theory of typology. 15. What roles do memory and recognition play in the experience of a classical Greek townscape? 16. If you traveled throughout Greece in the Classical period, what would be the same in virtually every town that you visited, and what would be different? 17. Explain two different interpretations of the new style orthogonal or Hippodemian plan common in the Greek colonies. at the start of Hellenistic times. SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 6 25 Session 7: THE PERICLEAN ACROPOLIS AT ATHENS NAMES AND TERMS Caryatid: term for a human female figure used as a column and said to derive from Karyai in Laconia which was famed for its statuesque women. controlling ratio (Greek: analogia): in architecture, a ratio that is repeated at several different scales and places throughout a building or buildings to create a visual harmony. Delian League: alliance for mutual protection formed between the Greek city states. entasis: (Greek: limitation, tension) The vertical curve of the surface of a column. forced perspective: a perspective view in which the apparent depth is increased by the convergence of apparently parallel lines so that they intersect at a point at a finite distance from the observer rather than at infinity. Greenberg, Allan: U.S. architect and theorist currently working in the classical and vigorously defending the idea that it is still relevant today. Iktinos and Kallikrates: architects of the Parthenon. Mnesikles: architect of the Propylaia of the temenos on the Acropolis at Athens. Nike: winged female symbol of victory. palimpsest: a surface written upon many times; hence, by extension, a site that has been built upon many times. partheno: Greek term meaning 'virgin' and hence the source of the name for the Parthenon by virtue of Athena's mythical virginity. pediment: in Greek and Roman architecture, the low-pitched gable on the ends of a building. peplos: a simple belted garment made out of a single sheet of cloth and worn by Greek women. Comparable in some respects to the Indian sari. Pericles: Athenian statesman and general (495-429 BC). Pheidias: sculptor of the statue of Athena in the Parthenon. pinakotheke: Greek term for a picture gallery. propylaeum (also propylaia): an entrance gate structure to an enclosed space such as a temenos temenos: a sacred precinct such as the Acropolis. Vitruvius Pollio, Marcus: Roman architect active 46-30 BC and author of De architectura, usually referred to as Ten Books on Architecture , which have had enormous influence down to the present day. SOME MAJOR STRUCTURES ON THE ACROPOLIS Parthenon Temple of Athena Nike Erechtheion (Erechthium) Propylaea (entry buildings) Exterior statue of Athena (no longer extant) ISSUES FOR LECTURE 7 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. In what sense is the Acropolis a product of tyranny rather than Athenian democracy? 26 2. Describe the layout of the Periclean Acropolis according to Doxiadis. How is the Acropolis related to the surrounding landscape? 3. Explain the nature and function of the so-called optical 'corrections' on the Parthenon. 4. How might the mixture of Doric and Ionic elements in the architecture of the Athenian Acropolis be explained? 5. What was the Panathenaic Festival and what influences did it have upon the architecture of Athens and her Acropolis?6. What role did the peplos play in the Panathenaic Procession? 7. How are the events of mythical time encoded in the pediments, friezes and metopes of the Parthenon? 8. How is the unusually complex form of the Erechtheum to be explained? 9. Describe the contest between Athena and Poseidon. 10. Is the Classical style still in use today? 11. Explain how the architecture of the acropolis, the agora and the house are related in classical Greece. What is the significance of this relation? Can you think of any instances of contemporary architecture where similar relations occur? 12. What symbolic value might a Greek architect have in mind in using a controlling ratio or analogia? 13. The so-called optical corrections employed in the Parthenon are in many instances so subtle they can only be definitely established by measurement. Does this mean they do not contribute to our experience of the architecture? Explain. 14. The Romans replaced the indirect Greek route to the Propylaia of the Athenian Acropolis with a straight road. What difference in world outlook between the Greeks and the Romans might this suggest? 15. Athena's reply to Poseidon's creation of a saltwater spring on the Acropolis with a stroke of his trident was to create an olive tree. Why did the human judges of this contest accord victory in this contest to Athena? What is the significance of the fact that here men and women are judging gods? 16. What sorts of arguments can be given for associating the architectural column with a person? What are some of the implications of that relationship for our experience of architecture? 17. In what ways might architecture have been comparable to weaving for the Greeks? 18. How does Allan Greenburg argue for the use of the classical style in architecture today? Do you agree or disagree with him? Why? 27 THE BASIC GEOMETRY OF THE PERICLEAN ACROPOLIS ACCORDING TO DOXIADIS Angles ac, cg, gk, kl all = 30 degrees each, which = 180/6 or 360/12—a 12 part or Dorian system. AD1D4 is an equilateral triangle. The equilateral triangle is bounded by two symmetrical sectors of 30 degrees each The four equal angles ac, cg, gk, kl are divided into two parts, each of which has angles of 17 degrees 30 minutes and 12 degrees 30 minutes. (The 12 degree angles are shaded in the drawing above.) This is approximately the proportion of 3:2 (18 degrees to 12 degrees) which is one of the ratios of the universal harmony (1:2, 2:3, 3:4, 4:5). An arc described with A as a center and the base of the Parthenon at D3 defining radius AD3. This establishes that all the points on the arc are 79.25 meters from point A. It is known from independent sources that the equilateral triangle was associated with the Goddess Athena For further information on this system of Greek site geometry see Constantine Doxiadis, Architectural Space in Ancient Greece, Cambridge, Mass., MIT Press, 1972. THE CLASSICAL GREEK CONCEPT OF PROPORTION The Classical Greek concept of architectural proportion is based on the idea of analogous parts. This reflects their understanding of the cosmos as a whole (architecture as cosmic vision). Thus, for the Greeks, the cosmos as a whole has a soul (World Soul), which is analogous to the souls of individual human beings. Likwise, the gods are analogous to humans, even to the extent of having “character flaws” just as humans do. For an account of Greek cosmology see the Timaeus, a dialogue by Plato. The concept of analogy was also applied to the proportioning of buildings. The following illustration shows how the same proportion (9 : 4) appears again and again at different scales and in different elements in the Parthenon on the Acropolis in Athens 30 Session 9: ROME PART I: EARLY ROMAN ARCHITECTURE NAMES AND TERMS Aeromancy: divination by looking for signs in the sky such as flocks of birds over a particular area. Agrimensor: the Roman surveyor responsible for laying out an Urbs quadrata or grid city. Amphitheater: a Roman theater in the round (usually oval) in which large audiences gathered to be entertained by circus-like spectacles and gladiatorial combat. Atrium: in Roman domestic architecture an inner court open to the sky and surrounded by the roof. Caldarium: the hot bath in a Roman bath house. Castrum: a Roman military camp. Cavea: the hollow of a Greek or Roman theater. Corinthian order: a tall slender order with a capital representing leaves of the acanthus plant, said to have originated in Corinth (not far from Mycenae) in the Greek Peloponnesus. This order was much used by the Romans for temples. Frigidarium: the cold bath in a Roman Bath house. Frontality: in architectural contexts, the alignment of facades at right angles rather than obliquely to the viewer's line of sight. Hypocaust: an under floor heating system used in Roman baths. Impluvium: the pool that collected rainwater in a Roman parastyle courtyard. Insulae: 'islands', apartment blocks for the poor in Roman cities Mundus: a hole dug at the intersection of the founding Cardo and Decumanus in which the first fruits of the harvest were placed as an offering to the spirits of the dead. Pomerium: the circular ditch plowed to define the limit of the city in the traditional Roman founding ceremony. Roman concrete: an unreinforced building material consisting of a cement bonding agent with aggregates of various kinds of stone from heavy to light, depending upon the structural need. Romulus and Remus: The mythical twins who founded Rome April 21, 753 BC. Sulla: early Roman dictator who used his army to stage a coup d'etat. Tablinum: in the Roman house, a room with one side open to the atrium or central courtyard. Templum: the sky divided into four imaginary quadrants for the purposes of aeromancy. Tepidarium: in the Roman baths, the bath of moderate (tepid) temperature Tiber: The City of Rome's main river. Triclinium: the dining room in a Roman house. Urbs Quadrata: a Roman city on the gridiron plan in which every north/south street is a Cardo and every east/west street is a Decumanus Vesuvius: volcanic mountain responsible for burying Pompeii and Herculaneum under between 13 and 20 feet of mud and ash on August 24, 79 AD. BUILDINGS AND PLACES Herculaneum: Two story house with balcony above Pompeii: House of the Vettii The Forum Amphitheater, c 80 BC Bakery (Pistrinum) Baths 31 BUILDINGS AND PLACES (cont.) Rome: Forum Boarium: Temple of Fortuna Virilis, c. 100 BC Forum Boarium: Tholos (round temple) c. 200 BC Baiae (Near Naples): Thermal Baths (first large concrete dome) c. 40 BC Nimes France: Maison Caree Praeneste: Temple of Fortuna c. 80 BC Sperlonga: Grotto of the Emperor Tiberius (AD 14-37) ISSUES FOR LECTURE 9 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. Explain in detail the objects and rituals involved in founding a traditional Roman city. 2. What events connected with Pompeii lead to the beginnings of something approaching the modern archaeological attitude toward historic building sites? 4. In what way was the Roman city like a templum? In what way was the Roman castra (military camp) like a templum. 5. What social functions did the aristocratic Roman house, the domus, provide for? What were the religious aspects of the domus? 6. What was the religious function of the mundus and the pomoerium for the Roman City? How were they related to each other? How did they help to relate the city to the gods? 7. What sorts of people typically settled or were settled in Roman towns outside of Rome such as Pompeii? 8. What practical considerations led to the development of the city of Rome? 9. Compare and contrast Greek and Roman temples. 10. Compare the symbolism of Greek and Roman city layouts. 11. Compare and contrast the Greek and Roman treatments of the Doric, Ionic and Corinthian orders. 12. Why was it important to the Romans and other traditional cultures to use divination to find the best site for a city or a temple rather than just putting it where they felt like putting it? (Note: architects and designers should discuss this question in terms of the difference between design by discovery and design by using a preconceived image. 32 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 9 1. This plan of the Roman colony of Timgad in North Africa shows it divided by two streets. The North-South street was known as the_________________. 1. decumanus, 2. cardo, 3. calle, 4. avenida 2. and the East-West street was known as the________. 1. decumanus, 2. cardo, 3. calle, 4. Avenida 3. According to the story of the mythical founding of Rome by Romulus and Remus, the__________ was located at the intersection of these two streets. 1. olive tree, 2. calle, 3. mundus, 4. fountain 4. __________was also set up at this intersection. 1. A temple, 2. A templum, 3. A pyramid, 4. An altar 5. After the pomoerium locating the city wall was plowed, an agrimensor or surveyor laid out the____. 1. buildings, 2. parks, 3. temples, 4. streets 7. This structure is part of the _____________ at the forum in Pompeii. 1. arcade, 2. colonnade, 3. wall foundation, 4. column buttressing 8. The beam-like structure atop the columns is made out of____. 1. stone, 2. brick, 3. wood, 4. Roman concrete 9. The pockets in this structure supported______. 1. joists, 2. wall studs, 3. windows, 4. pediments 10. The columns are of the __________ order. 1. Corinthian, 2. Composite, 3. Ionic, 4.Doric 35 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 10 15. This structure is known as the_______________; it is______________. 1. Colossus, a circus 2. Coliseum, a hyppodrome 3. Coliseum, a theater 4. Coliseum, an amphitheater 16. The plan view of this structure indicates that it is______. 1. an ellipse 2. a simple oval 3. a polygon 4. a polycentric oval 17. The sequence of the orders on the four levels of the exterior façade from bottom to top is: 1. Ionic, Doric Corinthian, Corinthian pilaster. 2. Corinthian, Doric Ionic, Corinthian pilaster 3. Corinthian pilaster, Corinthian Doric, Ionic. 4. Doric, Ionic, Corinthian, Corinthian pilaster. 18. Which of the following is not an activity commonly was presented in this structure? 1. Plays. 2. Mock naval battles with large ship models. 3. Animal hunts. 4. Gladiatorial combats. 11. This Roman structure is known as_________________. 1. a boulitarion 2. a aesklepion 3. a basilica 4. a hyppodrome 12. In function, it is______________, which the Romans commonly used for________________. 1. a public building, law courts and legal matters. 2. a public building, libraries and theaters. 3. a public building, baths. 4. a public building, political conventions. 13. On the Italic peninsula, these buildings were commonly made with __________walls and____________roofs. 1. cut stone walls and fan vaults. 2. rubble walls and flat roofs. 3. brick walls, pendent vaults. 4. brick walls, timber truss. 36 Session 11: EARLY CHRISTIAN AND BYZANTINE ARCHITECTURE NAMES AND TERMS Anagogicus mos: the upward leading way. The idea that the mind can be led upwards by material beauty to the contemplation of spiritual beauty. Anthemios of Tralles and Isidorus of Miletus: designers of Hagia Sophia. Baptistery: a special structure built for the Christian ritual of baptism Basilica: in Roman society, buildings for civic functions such as courts of law. After Constantine, the basilica became the basic type for the Christian church, consisting of a long central hall or nave flanked by one or more side aisles on each side and an apse terminating the central axis. Light enters the nave through clerestory windows above the aisles. Byzantium: Greek colony founded c. 647 BC; the site of Constantinople. Catacombs: underground Christian cemeteries. Human remains were stored in wall recesses called cubicula. Catechumens: those receiving Christian instruction, but not yet baptized. Chi Ro: the first two letter's of Christ's name in Greek (Christos), adopted by Constantine as his personal symbol or "logo." Cathedral: a Christian church where a bishop has his seat (cathedra). Originally, the bishop, as the worldly representative of Christ, sat in the apse where the Roman emperor had sat in the Roman basilica. Christian Mysteries: the transubstantiation of the bread and wine into Christ's body and blood at the Holy Communion. Christos: the anointed one of God. Edict of Milan: the edict issued by Emperor Constantine in 313 which required that Christians should not be persecuted, deprived of property, or abused in any way. Christianity was made the official religion of the Roman Empire by the emperor Theodosius I in 382 CE. Eucharist: the ritual commemoration of Christ's Last Supper. Flying buttress: a support for a wall which stands free of the wall to which it is connected only by arches. Justinian and Theodora: Byzantine Emperor and empress (reigned 527-565). Liturgy: the form and order of worship in a Christian church. Narthex: the entry porch of a basilican church, from which nonmembers might watch the service. Presbytery: the governing body of the church consisting of the minister and elders. Theoderic: Ostrogothic King of Italy who made Ravenna his capital in 493. Transept: a hall built across the main axis of the nave of a Christian basilica. BUILDINGS & PLACES Christian House, Dura Europos, 240-256 AD The Catacombs of the Via Latina, Rome 4th c. AD Basilica at Trier, Germany, 4th c. AD St. Peter's Basilica (Old St. Peter's) Rome, c. 320. Orthodox Baptistery, Ravenna, Italy, c. 450 AD S. Apollinare in Classe (Classe is the Ravenna seaport), consecrated 549. S. Vitale, Ravenna, consecrated 548. Mausoleum of Galla Placidia, Ravenna, 425 AD Hagia Sophia, Constantinople, 532-537. 37 ISSUES FOR LECTURE 11 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. In what type of building did the early Christians (before the Edict of Milan) worship? Why? 2. What were the catacombs and how were they used by early Christian communities? 3. In what ways did early Christians venerate martyrs to their faith? What was the significance of burial close to the tomb of a martyr? 4. Why was the martyrium unsatisfactory as a church form for Christian congregational services, and how was this problem solved in early Christian church architecture? 5. How did Christianity differ from the traditional Roman state religion? 6. Prior to the Edict of Milan, why were the Christians persecuted by the Romans? 7. What physical characteristics of Roman and Early Christian mosaics gave them the sparkle and glow for which they are so well known? 8. In what ways can Hagia Sophia be interpreted as an image of the cosmos? 9. What were some of the geographical, cultural, political, and military reasons that led Constantine to found a new capital for the Roman Empire at Byzantium? 10. What features of Roman architecture were adapted to and incorporated in the early Christian church? 11. Early Christian architecture may be thought of in terms of shaping space around ritual. Discuss. 12. Discuss the concept of anagogicus mos in light of the following quotation from Procopius, the Emperor Justinian's court historian: "Whenever one enters this church (Hagia Sophia) to pray, he understands at once that it is not by any human power or skill, but by the influence of God, that this work has been so finely wrought. And so his mind is lifted up toward God and exalted, feeling that He cannot be far away, but must especially love to dwell in this place which He has chosen." 40 ISSUES FOR LECTURE 12 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What are the basic rules of the Islamic religion, and how do they shape the architecture of the mosques in which this religion is observed? 2. Why are there no representational images in some examples of Islamic architecture? 3. What is the basic form of the mosque and in what building is it thought to have originated? 4. What are some of the variations of the mosque form? 5. For Muslims, what is the significance of Mecca, and what important artifact is found there? 6. Draw a diagram of a typical urban center in an Islamic city and label the component structures. 7. From what is the shape of the Taj Mahal derived? 8. Explain what the centering for a vault is and some of the techniques used by the folk builders of the Islamic world to construct vaults without centering. 9. Describe the process by which an Islamic muqarnas vault is designed and laid out on site. 10.What do we miss if we study only the architectural monuments of a culture and ignore its folk architecture? 11. Is there a distinction between architecture and building, and if there is, what is it? 12. What symbolic connections are there between the Roman concept of founding a city and the circular plan for the city of Baghdad? 13. What evidence is there that there may have been communication between the masons of Europe and those of the Muslim world? 41 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 12 This cut-away perspective shows the Great Mosque at Qairawan Tunesia.which dates from about 862 A.D. Please answer the following questions about it. 21. The tower structure under the letter ‘A’ is known as: 1. a minbar 2. a mirab 3. a minaret 4. a musette 22. The structure marked ‘E’ is called a__________and indicates the direction of____________. 1. mirab, Mecca 2. minbar, the Imam 3. minaret, Mecca 4. muazin, Mecca 23. After entering the courtyard (or atrium), the person who has come to pray would next seek out the_________, which would be located_________________, where they would remove___________. 1. garden, near the courtyard, their head covering. 2. Imam, in the dikka, their shoes. 3. Muazin, in the minaret, their weapons. 4. cleansing pool, under the dome above the letter ‘C’, their shoes. 24. The prayer room is _____________which is especially suited to the Islamic understanding of prayer because_____________. 1. a long narrow space, prayer is an intensely visual experience for Muslims. 2. a hypostyle hall with a bare floor, for Muslims, prayer is a direct communication with Allah. 3. a carpeted hypostyle hall, Muslims pray with their eyes closed, and prayer is not a visual experience.. 4. a carpeted hypostyle hall, Muslims pray with their eyes open, but prayer is not a visual experience. 42 Session 13: ARCHITECTURE OF INDIAN ASIA NAMES AND TERMS Brahma: The creator god in the Hindu religion Brahman: in the Hindu religion, the incognizable center of being, without attributes and without differentiation. Also the name given to the Hindu priest (sometimes anglicized as Brahmin). Caste system: traditional, Indian society was divided into five castes: (1) Shudra: the agriculture/labor caste [may build 3.5 floors]; (2) Vaishya, the trading caste [may build 5 floors]; (3) Kshatriya, the warrior caste [may build 5.5 floors]; (4) Bramins: the priest and ruling class [may build 7.5 floors]; (5) Kings [may build 8.5 floors]. gnomon: the vein on a sundial, a column or other device used to indicate the time of day or the east-west axis by means of shadows. karma: in Buddhism, the doctrine of cause and effect: what you do in this life determines in what form your soul will be incarnated in the next lingam and yoni: in Hindu religion, the male and female reproductive organs, particularly as symbolic of fertility. Shiva: The destroyer god in the Hindu religion vastu-parusha-mandala: the form assumed by the Brahman in the phenomenal world, now that it has been set in order by Brahma with the aid of the gods. All correctly formed mandalas were thought to have magic efficacy. The basic pattern contains 32 possible configurations among which the priest-astrologer chooses the one which seems astrologically auspicious for the planned building. vastu-vidya: the science of architecture in India, already considered a branch of occult knowledge in vedic times circa 1000 BC Vishnu: The preserver god in the Hindu religion BUILDINGS Hindu Temple of Kandariya, Khajuraho, India, c. 1000 AD Hindu temple city of Madura, India, c.1400 Hindu rock temple of Kaiasnath, Ellora, Inda, 8th c. Hindu Sun Temple of Konarak (with wheels), c. 1250 AD Sanchi, India, the Great Stupa (Buddhist) c. 1st century AD Buddhist caves at Ajanta (Deccan) c. 400 AD Stupa of Borobudur, Java, 8th c. AD Batak (residence) Lake Toba, Sumatra contemporary. Toraja house (saddle shaped roof), Celebes (Sulawesi); contemporary. ISSUES FOR LECTURE 13 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What are the basic components of a Hindu temple and what do they symbolize? 2. In traditional Hindu architecture, what geometrical principles of organization apply to the city, the temple, and the house? 3. What is a mandala and what is the role of the vastu-parusha-mandala in Hindu architecture? 45 Session 14: MAYA ARCHITECTURE IN MEXICO AND GUATEMALA NAMES AND TERMS Aztec: a member of an advanced Indian civilization in what is now Mexico before the conquest by Cortez in 1519 Books of Chilam Balam: A Maya chronicle dating to 495 AD but written much later. Ceiba tree: a tall straight tree sacred to the Maya who regard it as the World Tree or axis mundi—the prop that holds up the sky and the place where humans communicate with the gods. Cenote: a large natural well-like source of water for the Maya formed by the drainage of surface water into caverns with the consequent collapse of the cavern roof due to erosion and leaching. Chac: a Maya rain god Chacmool (or Chac Mool): A Maya reclining figure looking over its left shoulder and having a kind of tray or vessel for offerings upon its chest. It has been interpreted as a heavenly messenger taking the blood-gifts of humans to the gods (Kubler). Others say that they are attendants of the rain god Tlaloc, and that the trays are for catching rain (Nicholson). Corbeling: formation of a vault-like structure by progressively cantilevering two stacks of stones until they touch at the top, leaving an open space below. Cortez, Hernando: (1485-1547) explorer and conqueror of Mexico De Soto, Hernando: (c1500-42) explorer in America; discovered the Mississippi River. Hero Twins (Hunapu and Xbalanque) in some ways comparable to Romulus and Remus in the Founding of the City of Rome, the Hero Twins of the Maya Popol Vuh repeatedly outwit the Xibalbans, the Lords of the Underworld (evil and darkness). Maize God: one of the chief gods in the Maya pantheon, associated with the sun and the most basic food of the Maya people Maya Glyphs or hieroglyphics or glyphs: the Pre-Columbian Maya writing system. Maya: member of an advanced Indian civilization found in Yucatan, Chiapas, British Honduras and N. Guatemala. They had a sophisticated system of hieroglyphic writing for which about half of the characters are now translated. monogenesis: the theory that Homo sapiens developed in just one place (probably Africa) and spread from there over the rest of the world including to the American continent, perhaps via the Bering Strait. Compare with polygenesis. Pakal: one of the major rulers at Palenque. Pizarro, Francisco: (1474-1541) conqueror of Peru. Popol Vuh The book of the Maya creation myth. Psychoduct: a tube connecting a tomb to a temple through which the soul(s) of the deceased were throught to gain access to the world of the living. Quetzalcotl: In incarnate form, which he is supposed to have assumed at a certain moment in history, a great lawgiver and civilizer, inventor of the calendar or Book of Fate. He was a compassionate king who could scarcely bear to hurt anything. Otherwise, the great plumed bird- serpent; the life god. LOCATIONS Note: In Maya languages, the stress is almost always on the last syllable in a word. X is pronounced "sch" and z = "s." Antigua: the old capital city of Guatemala Chich' en Itza: Maya city in Yucatan (Mexico) Copan: Maya site in Honduras Iximche: Maya site in Guatemala Kabah: Maya site in Yucatan famous for the Codz Poop, a temple covered with sculpted faces. Palenque: Maya city in Chiapas (Mexico) Las Sepulturas: residential suburb of the Maya site of Copan (Honduras) Tikal: Maya site in Guatemala Uxmal: Maya city in Yucatan 46 ISSUES FOR LECTURE 14 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. How might the theories of monogenesis and polygenesis be used to offer fundamentally different explanations for the origin of Native Americans? 2. What contributions did the Maya make to the Spanish Colonial architecture of the New World? 3. Compare the basic cosmological model of the Maya people with that of the ancient Romans. 4. What role did pyramid temples play in Maya culture? 5. What types of vaults did the Maya construct? 6. What attitude did the Spanish take toward the colonization central and South America? Was this attitude justified? 7. Explain the significance of each of the following in Maya mythology and culture: 1) the pyramid, 2) the cross, 3) the four cardinal compass directions, 4) the ceiba tree, 5) Lake Atitlan, 6) The Milky Way 7) The rising and setting of the sun. 8. What do we know about the ways in which Maya builders oriented their buildings and laid out their plazas? 9. Draw a section through a Maya pyramid and temple and label the parts. 10. What was the typical Maya house like, and how is it related to the pyramid temple? 11. What similarities are there between Maya architecture and the architecture of Classical Greece? 12. Because of the emphasis on death and human sacrifice in many of the rituals of the Maya and Inca cultures, it is easy to get the impression that they had some sort of obsessive blood lust. How might a more profound understanding of these cultures begin to dispel such impressions? John Ruskin once said that a civilization may be judged by what it is prepared to die for. Compare our own culture with those of the Mayas and Incas on this point. What are we prepared to die for? 13. Maya sculpture shows a tremendous capacity for the subtle expression of character. How might this sensitivity contribute to the survival of the culture? 14. It has been noted that the Maya and the Inca civilizations used no wheeled vehicles, yet they constructed some toys with wheels. Why might they have avoided the construction of wheeled conveyances? 15. What is the significance of the Ball Game in Maya mythology and culture? Does football play a similar role in our culture today? 16. How might the Popol Vuh function as a guide for life in Maya culture? 17. What are some of the major similarities and differences between the various Maya sites you have seen? 47 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 14 34. Because the Maya have always been dependent upon maize for sustenance, it is easy to understand how the maize plant is central to their mythology. Here the maize plant manifests as a god, but other forms in which it appears include are the______, and the_____. 1. rubber tree, peccary 2. banana tree, bird of paradise 3. ceiba tree, the Milky Way which is the White Road connecting earth with Xibalba 4. river, lightning flash which carries the dead to Xibalba. 35. To the left and right of their father we see the hero twins Hunapu and Xiblanque. Xibalanque (right) is _______ His father, while Hunapu shows spots indicating his identity with the golden jaguar which represents____, 1. using a bellows to burn, the spotted owl. 2. watering, Xibalba. 3. baptizing, his rebirth as a Christian. 4. watering, the daytime sun. 38.This view of the Great Plaza at the Maya site of Tikal in Guatamala shows how the Maya may have used_____________to lay out their cities in conformity with___________. 1. trigonomentry, the geometry of their concept of the universe. 2. a surveyor’s transit, the Pythagorean theorem. 3. the 3-4-5 right triangle, the geometry of their concept of the universe. 4. the 3-4-5 right triangle, the Pythagorean theorem. 39. In Pre-Columbian times Maya city centers were_____. 1. More densely covered with vegetation than we see them today. 2. Completely free of trees and vegetation. 3. Planted much as we see them today. 4. Planted with elaborate gardens. 40. The prototype structure for the Maya temple house appears to have been: 1. the Maya palace. 2. the Aztec temple. 3. the cenote. 4. the Maya traditional house. 50 Session 17: ROMANESQUE ARCHITECTURE NAMES AND TERMS ambulatory: the "walk around" connecting the radiating chapels at the east end of a basilican pilgrimage church. bema: A raised stage for the clergy in the apse of Early Christian churches. In the Eastern Orthodox church, a space containing the altar, raised above the nave level of the church and shut off by the Iconostasis or screen. chevet: French term for the ambulatory and radiating chapels at the east end of a pilgrimage basilica. crossing: the place where the nave and the transepts intersect. crypt: in a church, a chamber or vault beneath the main floor, not necessarily underground, and usually containing graves or relics. the Four Evangelists: figures frequently represented in Romanesque sculpture: St. John = Eagle, St. Luke = Ox, St. Mark = Lion, St. Mathew = Angel flying buttress: a buttress which is free-standing but connected by an arch to the wall it braces at the point where a vault exerts a lateral thrust. gallery: the middle level in a Romanesque nave elevation, consisting of nave arcade (on the lowest level), gallery, and clerestory windows at the top mandorla (also vesica piscis): an almond or boat-shaped nimbus or glory surrounding a sacred figure. nave: (from the Latin navis, meaning ship) the central aisle of a basilican church. The other aisles are generally called side aisles or just aisles. porch or narthex: a kind of entry vestibule originally intended for those who were not yet members of the church. rotunda: a round room or space, usually covered by a dome. transepts: the "arms" that extend to the north and south of the nave in a basilican church. tympanum: the area between the lintel of a doorway and the arch above it. BUILDINGS Durham Cathedral, 1093, Durham, England Pisa Cathedral, 1063, Pisa, Italy Santiago De Compostela, 1075-1115, Spain, goal of pilgrimages to Spain Saint-Benigne, 1001-18, Dijon, France Saint Etienne (Abbaye-aux-Hommes), 1064-1134, Caen, France Saint Foy, 1041-1100, Conques, France Saint-Martin-du-Canigou, 1001-09, France Saint-Philibert, 950-1019, Tournus, France Saint-Sernin, 1060-1119, Toulouse, France S. Miniato al Monte, 1013-1070, Florence, Italy S. Pedro de Roda (Saint Pere de Roda), consecrated 1022, Catalonia S. Vincente da Cardona, 1029-40, Catalonia ISSUES FOR LECTURE 17 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 51 1. Describe the development of the Romanesque vaulting system from roughly 900 to 1100. What changes does it undergo? 2. What was the cult of relics, and what role did it play in the design of a Romanesque church? 3. What sorts of things were collected as relics? 4. Explain how a Romanesque vault or arch works structurally. 5. What reasons (give at least three) were there to cover the church space with stone vaults rather than a timber roof? 6. Why did people undertake pilgrimages; when they did, where did they go and what did they see? 7. Where did the money come from to build pilgrimage churches? 8. Using a specific example such as the piano, the automobile, and the Romanesque basilica, discuss the process of development which artifacts typically undergo over time. Does this development represent a process of gradual perfection or just change? How can you tell? 9. Discuss the symbolism of the typical Romanesque tympanum. What is the politics and economics of this symbolism? 10. It has been said that all the features of the Gothic cathedral occur separately in the Romanesque basilicas. Can you site specific examples which would prove this? 11. From an expressive standpoint, what would you say is the basic feeling conveyed by French, English, and Spanish Romanesque churches? SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 17 12. This view of the vaults at St. Etienne (1064-1134) in Caen, France shows that it: 1. has a four-part vault system 2. has a six-part vault system 3. has a two-part vault system 4. has a five-part vault system 13. One wall pier has a single engaged column, while the other has three, because: 1. there was a change in architectural style 2. an error was made 3. different teams of workers built each. 4. the one with three gets more vault thrust 14. The reason there are arches on only one side of the clerestory windows is that 1. there wasn’t enough room on the other side 2. the clerestory windows are off center 3. there is more vault thrust on that side 4. there is less vault thrust on that side 15. From this arrangement of vaults and openings, one can 15. From this arrangement of vaults and openings one can infer that: 1. the vaults were retrofitted at a later date 2. the vaults collapsed at some time 3. the vaults are made of brick rather than stone 4. the ribs were too weak to achieve arch action 52 45. This plan and section of Saint Philibert at Tournus, France (950-1220) show it to have_________. 1. radiating chapels, 2. a longitudinal barrel vault, 3. a crypt above ground, 4. fan vaults 46. The curved passageway at the East end is known as a ______________. 1. ambo, 2. chevet, 3. chevrolet, 4. narthex 47. This structure made it possible for pilgrims to ____________ without interrupting church services. 1. arrive late, 2. talk softly, 3. buy gifts, 4. view the church relics 48. The space over the vaulted West entry is _____________ . 1. a narthex, 2. an atrium, 3. a westwork chapel, 4. an ambo 49. The vaults at Saint Philibert are unusual in that they are _______________ . 1. transverse, 2. barrel vaults, 3. groin vaults, 4. five in number rather than four 50. A probable structural reason for this vault arrangement is that it _______________ . 1. makes the vaults shorter, 2. eliminates the lateral thrust on the nave walls, 3. makes the vaults lighter, 4. eliminates the thrust on the end walls 55 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 18 23. This structure is known as 1. a keepwell 2. a donjon or keep 3. a bailey 4. a fortified well 24. Which of the following was not a common use for this structure? 1. prison, 2. protection from raiders 3. storage of valuables 4. water tower 25. Structures of this kind were most commonly found______________ . 1. in large cities, 2. free-standing in the country, 3. in castle court yards, 4. on the corners of castles 26. Prior to the development of cannon, about the only way to conquer a castle was __________. 1. by undermining the walls, 2. using a battering ram 3. by escalade (going over the walls), 4. by siege 16. This structure is a typical medieval residence known as ___________________. 1. a manor house, 2. a croft house, 3. a toft, 4. a long house 17. Such houses were most commonly occupied by ___________. 1. royalty, 2. the clergy, 3. serfs, 4. knights 18. The curved wood members are called 1. crockets, 2. dog legs, 3. crooks, 4. bents 19. The walls of these structures were commonly made of ____________. 1. wattle and daub, 2. motte and bailey, 3. toft and croft, 4. mud and motte 20. The toft was ___________________. 1. the wall coating, 2. the garden, 3. the farmyard, 4. the roof covering 21. For a peasant family to survive in Medieval Yorkshire, England, about ___ acres of farm land were required. 1. five, 2. ten, 3. twenty, 3. thirty 22. In addition to the time spent working the land for his own survival, a serf might owe________ to the lord from whom he rented land. 1. three days labor per week, 2. three days labor per month, 3. 30 days labor per year, 4. 60 days labor per year. 56 Session 19: THE ABBOT SUGER AND THE BEGINNINGS OF THE GOTHIC NAMES AND TERMS: Abbey = a monastery headed by an Abbot or a convent headed by an Abbess. Abbot Suger (Su-zhay’) French churchman and later Regent of France; thought to be the first to combine various Romanesque elements in a single building thus establishing Gothic architecture. Ad quadratum (by the square)/ad triangulum (by the triangle) = the two basic methods of geometric organization for the plans and elevations of Gothic cathedrals. Angagogicus mos = the upward leading method. The idea was that material beauty would lead one to spiritual beauty: As the eye is attracted by the sparkle of a diamond, so the soul is by the idea of God. Archivolt = the rib-like moldings (usually carved with figures) lining the flanks (jambs) and arch of a Gothic or Romanesque portal. Ars sine scientia nihil est Popular Latin expression meaning: art without science is nothing, or, more informatively, Know how (skill) without know what (theory) is nothing. Cames = lead bars with an I-shaped cross section that hold the glass in a stained glass window. Centering = framework used to support a vault or vault rib. Chevet is the French term for the string of chapels along the ambulatory around the east end of a cathedral. Contrapposto: the weight shift and slight twist of the body which occurs when a person places more weight on one foot than the other. Said of sculptures exhibiting this feature. Dionysius the Pseudo-Areopagite (circa 500 AD) was the titular saint of Abbot Suger's church of St. Denis to whom highly inspired writings on the spiritual qualities of light are traditionally attributed. The Early Gothic nave-wall elevation consisted of four parts: nave arcade, gallery, triforium, and clerestory. Later the gallery was eliminated. Flat arch = an arch (sometimes called a 'jack arch') which achieves arch action with little or no curvature due to just the wedge shape of its voussoirs. Fleurs de lis (French) = flower of the lily. A heraldic device consisting of a stylized three-petaled iris which is a part of the coat of arms of the French Royal Family & used in royal architecture. Gargoyle: a water spout carved as a grotesque figure. Glazing bars = metal bars running across leaded glass windows to give added support and wind bracing. Harmonic facade: the Norman two-tower west facade. Leaf man/Green man: medieval mythical being with magical powers, associated with spring and the May festivals. A vestige of this being may exist in our big foot/sasquatch stories and in the idea that the inhabitants of Mars (?) are green. Honnecourt included drawings of leaf men in his Sketchbook (c. 1230) Mason's marks = (1) An identifying mark adopted by a mason at the time he enters practice from his apprenticeship. (2) Marks made on stones to indicate their place in a vault or other construction. Opus Modernum = term for the Gothic in Gothic times. Quadripartite vault/sexpartite vault = the two basic vault configurations in Gothic cathedrals . Note the relation to ad triangulum and ad quadratum cathedral geometries. Rayonnant Style (rayonnant = radiant or radiating) Dominated the second half of the 13th century. Associated with the royal Paris court of St. Louis. Bar tracery is the fundamental feature of the style. As found in the delicate rose windows. Reverse perspective: a characteristic of some medieval paintings in which lines diverge toward the horizon instead of converging toward a point or points. Sexpartite vault: a rib vault having six parts or panels. Sketchbook of Villard de Honnecourt, c 1225-1250. Exact purpose unknown. The only document of its kind to come down to us from the Middle Ages. Triforium (literally three portals), the triforium occupies the space corresponding to the exterior strip of wall covered by the sloping timber roof above the galleries of some early Gothic cathedrals. It gives rise 57 to a nave elevation consisting of four parts: arcade, gallery, triforium, and clerestory. Eventually, the gallery is eliminated. Trumeau = the central column in a two-door church portal Tympanum = any membrane-like stone panel such as those typically found over the doors of a Gothic cathedral. Voussoir = an arch stone BUILDINGS: St. Denis: The new choir at St. Denis was dedicated June 11, 1144. At St. Denis it was, according to Suger, the "string of chapels" with "luminous windows" that proclaimed the new style. There are 12 columns around the ambulatory representing the Twelve Apostles. Laon Cathedral Begun c. 1160-1250 Notre Dame of Paris Begun c. 1163 The Norman two-tower ("harmonic") facade became the French High Gothic standard. ISSUES FOR LECTURE 19 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What features (name at least five) are commonly said to distinguish the Gothic from the Romanesque cathedral? What conceptual problem does this list of features raise? 2. What is the origin of the term "Gothic"? 3. Who was the Abbot Suger and what was his conception of the Gothic cathedral? 4. Describe the construction process for a Gothic cathedral, including the masonry vaults. 5. What was the primary objective of the crusades, and how was this objective connected to the establishment of pilgrimage churches? 6. Who was the Pseuedo Dionysius and what did his doctrine of light contribute to Suger's concept of the Gothic cathedral? 7. Describe the process of making a stained glass window. 8. What was the ‘mason’s square’ and what role did it play in the design of a Gothic cathedral? 9. Who was Villard de Honnecourt and what is the significance of his ‘sketchbook’? 10. What connections are there between Philibert de l’Orme’s discussion of the mason’s “cross” and the cosmological symbolism of the Roman city layout? How might these two concepts be connected historically? 11. Why were cathedrals often built by completing one bay at a time instead of starting the whole structure from the foundations at the same time? 12. What were the functions of stained glass windows in Gothic cathedrals? 13. Explain the concept of anagogics and the role it played in Suger’s conception of the Gothic church. 14. What evidence is there that the medieval mason wanted his skill associated with Euclid, and what might the significance of that association have been? 15. Explain the concept of dematerialization and how it applies to the spiritual significance of Gothic church architecture. 16. What sort of perspective effects were used in Medieval and Gothic art, and what might have been their significance? 17. Compare the structure of a Gothic cathedral to a plant. 18. What is the basic problem a mason has to deal with in cutting a voussoir for the web of a vault? What are two ways in which this problem can be solved? 19. Describe the education of a typical medieval master mason. 60 ISSUES FOR LECTURE 20 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What economic role did a pilgrimage cathedral typically play for the town and region in which it was built? 2. Why was the old crypt containing the mantle of the Virgin used as the foundation for rebuilding Chartres? 3. What does the Fleurs de lis (flower of the lily = three petaled iris) symbolize in French architecture? 4. What is unique about the inner aisles of Bourges cathedral, and what did this unique design contribute to the interior space? 5. How do the pier buttresses at Chartres compare with those and Bourges, and what does the difference indicate? 6. Why do the flying buttresses at Amiens have two arches instead of just one? At Rheims? 7. What portion of the wall surface at Ste. Chapelle is glass? 8. What happened to the 158 foot high vaults at Beauvais? 9. What characteristics distinguish an Early Gothic from a High Gothic cathedral? 10. Why do you suppose the transept was entirely eliminated at Bourges cathedral? 11. How can the difference between the two towers at Amiens be accounted for? Which is the better of the two towers, and how could you test them to decide? SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 20 1. These views of _________ cathedral show that it is unusual in ____________ . 1. Beauvais, lacking a nave 2. Bourge, lacking a transept 3. Bourge, lacking a chevet 4. Beauvais, lacking a clerestory 2. As a result of this lack it has _____. 1. double aisles 2. no clerestory 3. no crossing tower 4. no chevet 3. The omission of this element may be attributed to the desire to let more light into the church by means of _____________ . 1. a triforium 2. double aisles 3. a double clerestory 4. a taller clerestory 61 4. This view of the west end of __________ cathedral shows it after it was rebuilt following _________ . 1. Chartres, a fire, 2. Chartres, an earth quake, 3. Beauvais, the collapse of its vaults, 4. Beauvais, a fire 5. This church is built on the site _______________. 1. where a Bronze Age astronomical observatory once stood 2. of a Greek temple 3. of a battle between France and Italy 4. where a pagan cult had worshiped a pre-Christian virgin mother 6. It was claimed that because __________survived the disaster, this was a sign that God wanted the church rebuilt. 1. a veil or gown worn by Mary at the birth of Christ 2. a labyrinth 3. a rose window 4. a bell 62 Session 21: GOTHIC ARCHITECTURE OUTSIDE OF FRANCE NAMES AND TERMS Boss: an ornamental knob or projection. Cathedral: from cathedra = the bishop's throne in the apse behind the altar of a church. Chapter house = a structure, usually circular in form, in which church business was discussed by the clergy. Fan vault = vault form apparently originating in England in which the vault surface takes on the shape of a cone. Lady chapel = a chapel dedicated to the Virgin. Pendent: a boss elongated so that it hangs down, as from a fan vault. Pieta: a statue of the Virgin with the dead Christ. Presbytery: from Presbyter = the priest in an Episcopal church, and hence referring to the east end of the choir containing the high altar and the area reserved for the clergy. Respond = half pier embedded into a wall to carry the end of an arch or vault rib. Undercroft = a term used to refer to a vaulted room below a main room in an English church or chapel. ENGLAND Salisbury Cathedral, 1220-1260 Spire erected in 1330 Tower and flying buttresses were erected in the 14th century. Screen facade does not correspond to the interior. Small entrance portals No rose window; instead there is a triple window. Emphasis is on the crossing tower. Plan is long & linear. Double transept characteristic of Cistercian churches. Pier colonettes do not ride up the wall to connect with vault ribs. Vault ribs rise from corbels in the triforium. This gives horizontal emphasis to interior space. Ribs are of contrasting color stone. Lady Chapel (dedicated to the Virgin Mary) Supported by slender piers composed of extremely slender marble shafts. Chapter house interior wall and vaulting. Gloucester Cathedral 1089-1121 Vault ribs have multiplied into a dense thicket but have no structural purpose. It is a continuous barrel vault with applied ribs. Flat East end with enormous window. divided into horizontal tiers of windows of like shape and proportion. Henry VII Chapel at Westminster Abbey (1500-1520) Culmination of the English perpendicular style. Fan vaults with pendentives. This is called Tudor Style or Perpendicular Style, the former after the line of English kings which began with Henry VII in 1485. Vaults are van vaults with pendentives. (Note: do not confuse these pendentives with those which support a dome.) Canterbury Cathedral 1071-1503 Cathedral has a harmonic facade. Here the ambulatory is called a Corona. Architect: William of Sens Wells Cathedral 1175 1435 : "Strainer arches" built at later date to stabilize tower. GERMANY * Architecture of Germany remained conservatively Romanesque until well into the thirteenth century. In many, the only gothic feature is the rib vault. Cologne Cathedral, 13th & 14th centuries 150 foot high choir. Begun in 1248, stood with only chevet, transept, and lower parts of facade towers completed for some five centuries. Completed only when the original designs were found in the 19th century. Survived bombing in WW 2, only windows broken. Strasbourg Cathedral, France, c. 1250 Sculptured tympanum representing death of the Virgin Mary. Surrounded by the 12 apostles. In center, Christ receives her soul--the doll like figure on his left arm. Mary Magdalene wringing her hands in grief, crouches beside the death bed.Emotion expressed, scene represented as a human event. Naumburg Cathedral Sculpture of Ekkehard and Uta: persons of the nobility who in former times had been patrons of the "Church. Pieta: Virgin with the Dead Christ, c. 1325, painted wood 34" high, Rheinisches Landemuseum, Bonn St. Stephans, Vienna, 1305-1440 Tympanum is Christ in a mandorla flanked by angels. Ulm Cathedral Ulm tower is 530 feet tall--the highest gothic tower built. 65 Session 22: BRUNELLESCHI, PERSPECTIVITY, AND THE ENIGMAS OF ARCHITECTURAL PERCEPTION TERMS Armature: frame structure used to support the centering for a dome. Armillary sphere: a three-dimensional and sometimes clock-work driven device which shows the positions of the stars and planets relative to the earth. Centering: structure built inside a dome to support it during construction. Chain: in addition to the obvious, a tension ring used in domes to resist the lateral tensile forces which develop toward the base of a dome due to the self-weight (dead load) of the material it is made out of. Costruzioni legitima: method of constructing a one-point perspective by drawing lines from the eye point through the picture plane to the points of equally spaced intervals on the ground plane. Herringbone pattern: in masonry, a pattern of stone resembling the zigzag shape of the bones in this fish. Lantern: structure built over the opening (oculus) in the top of a dome to admit light while closing out the elements and giving a terminal gesture to the rise of the dome. Pietra serena: “serene or fair stone” = the gray sandstone of Brunelleschi’s arches and pilasters. PERSONS Philipo Brunelleschi 1377-1446 Arnolfo di Cambio (1235-1310) principal architect of Santa Maria del Fiore and the Palazzo Veccio Albrecht Durer (1471-1528) German graphic artist and early developer of perspective techniques. Jan van Eyck (1390-1441) Dutch painter famous for the narrative use of perspective, above all in the enigmatic “The Bethrothal of the Arnolfini “(1434). Cosimo de Medici (1416-1469) head of the major banking enterprise in Florence. Lorenzo de Medici (Lorenzo the Magnificent) (1449-1492) Grandson of Cosimo who carried on the banking enterprise. Paolo Ucello (1397-1475) early perspective painter Piero dela Francesca (1410-1492) Early perspective painter who wrote Perspective Pingendi, a remarkable treatise on perspective methods. BUILDINGS AND PLACES The Dome for Santa Maria del fiore in Florence (Brunelleschi) 1404ff. The Foundling Hospital (Brunelleschi): commissioned in 1419. Old Sacristy of San Lorenzo (Brunelleschi) 1422-1428. Church of San Lorenzo (Brunelleschi) 1421ff. Church of Santo Spirito (Brunelleschi) 1434ff. Piazza della Signoria: the piazza of the Palazzo Veccio. Palazzo Veccio (di Cambio) 1299-1323 66 Pazzi Chapel at Santa Croce (Brunelleschi) 1429-1461 Piazza della Santissima Annunziata: the piazza where the Foundling Hospital is located. ISSUES FOR LECTURE 22 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What was the Renaissance, and what role did the Medici play in its development? 2. Describe the basic construction principles and processes used in Brunelleschi's dome for Santa Maria del Fiore in Florence. 3. What features do the Old Sacristy of San Lorenzo and the Pazzi Chapel have in common? In what respects do they differ? 4. In what sense can Brunelleschi be said to have tried to develop type solutions to the building tasks to which he addressed himself? 5. In what sense can Brunelleschi’s mature architectural manner be considered a revival of the Romanesque, and in which sense does it transform the Romanesque? 6. What features of Brunelleschi’s mature architectural manner place emphasis on the linear perspective qualities of his buildings? 7. Explain Brunelleschi’s two perspective demonstrations and their objectives. 8. How does the analysis of the Palazzo Veccio and the Piazza della Signoria suggest perspective might have been consciously used as an organizer of urban experience in late medieval and early Renaissance times? 9. Explain how, for the Neo-Platonist, construzioni legitima could be regarded as a major manifestation of the Universal Harmony. 10. Describe some of the ways in which architecture controls our experience. 11. What do we gain and what do we give up if we use central or vanishing point perspective in the composition of drawings and paintings? Discuss in relation to a particular painting or paintings. 12. Is it still possible to use perspective today with the same level of creative imagination it had in the Renaissance? 67 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 22 5. Why did Brunelleschi opt for a pointed rather than a hemispherical dome at Florence cathedral? 1. To minimize the amount of centering needed to build it. 2. To create a form that would harmonize with the Gothic details of the rest of the church. 3. To make the dome tall enough to be seen from any point in Florence. 4. To create an axis mundi. 6. Why did Brunelleschi introduce a stairway between the inner and outer shells of the Florence cathedral dome? 1. To provide access to the lightning rod system protecting the dome. 2. To provide access to the exterior cornice gallery at the springing level of the dome that Michelangelo had called a “cricket cage.” 3. To make it possible to wash the windows in the drum. 4. For maintainance access to the inner and outer surfaces of the dome and to the lantern. 7. The structure that looks like a railroad track in the bottom picture is one of several______________. 1. structural trusses 2. stone and timber chains 3. systems of put-log holes 4. iron frames joining the dome to the drum 8. The function of a put-log hole is______. 1. to provide a permanent attachment for a cornice or molding 2. to provide a socket for a floor joist 3. to provide a socket for a timber to support a scaffold 4. to provide storage places for put-logs 9. the function of chains is a dome is to________. 1. resist the vertical stresses in the dome 2. resist wind pressure 3. resist the tension in the dome created by its self-weight 4. resist torsion induced by the lantern on top 70 3. Who was Vitruvius and why was his Ten Books on Architecture of special interest to the architects of the Italian Renaissance? 4. Who was Filarete, and for what purpose did he write his Treatise on architecture?5. What is the symbolic significance of the geometry of Filarete’s city of Sforzinda? 6. Compare the fortifications at Palmanova with those of Sforzinda. How does each respond to the warfare technology of its time? 7. What did Filarete think were the characteristics of a good architect? 8. How would Filarete’s Sforzinda have worked as a practical city? 9. Compare Filarete’s architectural style with Brunelleschi’s mature style. What are the similarities and what are the differences? 10. How, according to Filarete, is the form of a building to be compared to a human form and derived from it? 11. Draw the layout of Sforzinda’s city center and label the parts. 12. What connections does Filarete appear to make between Archimedes, Daedalus, alchemy and the architect? 13. What is alchemy, and what might it have to do with Renaissance architecture? 14. What was the philosopher’s stone, and in what sense(s) was it thought to be ubiquitous? 15. What was squaring the circle, and what was the significance of this operation in alchemy? 16. For the Renaissance architect, what was the significance of the human body, and what was its relation to the square and the circle? 17. If it is possible to read Filarete’s narrative of the building of Sforzinda and Plusiopolis as an allegory, what was the “secret of boundless wealth”, and what kind(s) of wealth was Filarete thinking of? 71 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 23 16. In the famous painting, above, “Ideal City”, attributed to Luciano Laurana circa 1470, which of the following is not a feature of the concept of space directly implied by Aberti’s idea of the hypostyle matrix? 1. The perspective grid in the pavement 2. The perspective grids on walls created by dark stone on light plaster 3. The modular units implied by the pilasters and entablatures on the wall surfaces 4. The two fountains in the foreground 17. For the Renaissance alchemist, what was the Philosopher’s Stone? 1. Pyrites or “fools’ gold” 2. Mercury or “quick silver” 3. The key to the union of opposites in the creation of gold from base metals 4. Plato’s secret key to the meaning of his dialogues 18. How is the essence of the Philosopher’s Stone reflected in the allegorical image at the right? 1. The Philosopher’s Stone is everywhere, but only the Adept can see it. 2. The Philosopher’s Stone is everywhere, but nobody can find it. 3. The Philosopher’s Stone represents the destruction of classical architecture. 4. The Philosopher’s Stone is as deceptive as fools’ gold. 72 Session 25: GEOMETRY, NUMBER AND AMBIANCE IN THE ITALIAN RENAISSANCE PALACE NAMES AND TERMS Alberti, Leone Battista (1404-1472): Playwright, musician, painter, mathematician, scientist and athlete as well as architect and architectural theorist, many have seen Alberti as the ultimate example of the Renaissance ideal of the ‘complete man’. braccio (an arm’s length): unit of measure equal to approximately 23 inches common in the Italian Renaissance, but with a different exact dimension in each region of the country. corpo transparente: the transparent (invisible) body of a Renaissance palazzo. (See hypostyle matrix). Both are associated with the ideal building in the mind as understood in Neoplatonic theory. golden section: the ratio of 1:1.618+ (an irrational number generated by adding the diagonal of 1/2 of a square to 1/2 of the length of its side to produce a rectangle of this ratio. harmonic proportions: the proportional series of the untempered musical scale and the putative universal harmony: 1:2, 2:3, 3:4, 4:5, etc. hypostyle matrix: the matrix of vertical and horizontal lines (ideal beams and columns) constituting the three-dimensional grid of equal sized cubes which define the ideal volume of a Renaissance palazzo. The hypostyle matrix defines the corpo transparente intercolumnation: the space between columns. irrational number: a number whose exact value cannot be calculated. A prime example is the diagonal of a square. By the Pythagorean theorem, if the side of the square is one unit, the diagonal is equal to the square root of 2, an irrational number. noble rooms: in Renaissance architectural theory, rooms which exhibit the highest degree of cubicity. opus reticulatum: diamond pattern of facing stones originated by the Romans for walls with a concrete core. piano nobile (the noble level): the main living floor of a palazzo, usually one floor above the ground floor. In Europe, floors and elevators are numbered starting (with 1) from the piano nobile level rather than the ground floor, as is common the United States. Serlio, Sebastian: (1475-1554), painter and architect, author of l’Architecttura, the first book on architecture whose aim was practical rather than theoretical. rustication: the use of roughly shaped stone faces to create texture and shadow. squaring the circle: using a geometrical construction to create a square exactly equal in area to a given circle. Such a construction has been proven to be impossible in geometry, but it can be approximated by various procedures. BUILDINGS Palazzo Medici (1444-1464) by Michelozzo Michelozzi (1396-1472). House of the Vettii, Pompeii c. AD 62-79 . Palazzo Rucellai, Florence: by Alberti circa 1450. Palazzo Pitti, Florence circa 1458, architect uncertain. Palazzo Strozzi, Florence circa 1489, architect uncertain. Palazzo Ducale, Urbino 1444-1482, by Luciano Laurana (died 1479), Francesco di Giorgio and others. 75 Session 26: THE WORLD OF THE FLORENTINE RENAISSANCE ARTIST; THE RENAISSANCE IN FRANCE NAMES AND TERMS: anamorphic perspective: a form of perspective in which the objects represented are distorted (often beyond recognition) by the use of various oblique projection techniques. belvedere: Italian term meaning “good view”. The name of the pope’s summer house in the Vatican. Berthelot, Philippe: woman who designed the Chateau Azay-le-Rideau Donato Bramante (1444-1514): Born Donato di Angelo di Antonio. The most highly regarded Italian architect of his time. exedra: an apse-like shape in a building such as the one at the north end of the Cortile of the Belvedere. Florin: monetary unit in Republican Florence. At a time circa 1460 when an artist’s house might sell for 100 to 200 florins, and a year’s rent was 10-12 florin, the Medici palace and furnishings cost 60,000 Florins. intarsia: inlay of woods. The term is also sometimes used to refer to stone inlays. liturgical instruments: symbols of the church; particularly those connected with its Biblical history, such as the crossed keys of St. Peter. martyrium: a church marking the place where a Christian was martyred. Philibert Delorme (also spelled: de l’Orme and de Lorme) (c1500-1570) France’s greatest 16th century architect and the only one generally regarded as the equal of his Italian contemporaries. stereotomy: system of geometric projection used to find the true shape of oblique surfaces of solids such as the voussoirs of a vault. trompe: a tapering, splayed vault which supports a cantilevered superstructure, often in the inside corner formed by the intersection between two walls. (Once you’ve seen one you’ll never forget it.) tromp l’oeil: (literally “fool the eye”; any painting or architectural element which creates a visual illusion of something which isn’t really there. BUILDINGS: Chateau of Anet: Built for Diane de Poitiers (the Duchess of Valentinois), mistress to King Henri II by Philibert Delorme, 1547-1555. Azay-le-Rideau, French chateau in the Tourine region 20 kilometers southeast of Tours, designed by Philippe Berthelot, wife of a financier to the King, 1518-1529. Belvedere Court, Vatican, Rome 1504-1580s, Donato Bramante architect. St. Peter’s Basilica, Rome 1453 and later. Many architects worked on this project including Bramante, Sangallo, Michelangelo, and Carlo Maderno. Tempietto, Rome, 1502 and following, Donato Bramante architect. 76 ISSUES FOR LECTURE 26 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What was the basic symbolism of the centrally planned Italian Renaissance church? 2. What does Bramante’s Tempietto commemorate? 3. What were three functions of the guilds in Renaissance Florence? 4. Why, particularly in the Renaissance, was there a tension between the desire for a central church plan and the desire for a basilica plan? (Discuss in terms of the idea of a man-centered cosmos.) What effect did the Council of Trent (1545-1563) have upon this tension and how did it affect the design for the new St. Peter’s? 5. What was the Cortile of the Belvedere used for? 6. What symbolic artifact in the Cortile of the Belvedere links it specifically to Rome? What does this artifact symbolize? 7. What are some features which distinguish French from Italian residential architecture in the 1400s? 8. Explain what a trompe is and why it was used in architecture. 9. How significant a role did the arts play generally in Renaissance Florence of the 15th century? What evidence is there for this role? 10. What does the Cortile suggest about the relation in the Renaissance between the pope and the classical Roman emperor? 11. Explain the nature of the trompe and the reasons which might be given for saying that it is an anti- classical element in architecture. 12. Why might Delorme have described the relation between the floor and ceiling patterns in the Anet chapel as one of parallel projection when in fact it no such relation exists? 77 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 26 29. This view shows this 15th century French structure to be ________ . 1. a palazzo 2. a villa 3. a chateau 4. a castle 30. The fact that this structure has turrets and is surrounded by a moat indicates_______________. 1. that the owner like to think of himself as a medieval lord 2. that it is a functioning castle 3. that tolls for crossing a river were collected here 4. that it is the center of a working farm 31. The steep roofs are _______________. 1. atypical in a structure of this kind 2. common in a structure of this kind 3. decorative rather than functional 4. functional rather than decorative 32. This is a view of ___________ ____________. 1. Michaelangelo’s Laurentian Library 2. Bramante’s Tempietto 3. Philibert de l’Orme’s Chapel at the Chateau of Anet 4. Brunelleschi’s Old Sacristy at San Lorenzo 33. The architect of this structure described it as though the coffering in the dome had been projected up from the floor pattern, and yet it could not have been constructed that way because______________. 1. there are more rings in the dome than in the floor pattern. 2. there was no way to make such a projection at the time of construction. 3. the floor was finished after the dome. 4. the floor was built on a different pattern at the time. 34. The fact that the architect tells this “lie” in his book indicates that ________________ . 1. He was a compulsive liar. 2. He was careless as an author and as an architect. 3. He imagined the structure as a symbol of the analogous relation between Heaven and earth. 4. He was more interested in practical matters of architectural layout than in architectural symbolism. 80 SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 27 43. In these two view of ___________________ 1. the Palazzo del Te 2. the Laurentian Library 3. the New Sacristy at San Lorenzo 4. Santa Maria Presso San Satiro 44. by ___________________ , 1. Julio Romano 2. Michelangelo 3. Bramante 4. El Greco 45. which of the following would not be considered a specifically Mannerist detail? 1. The brackets that do not support the columns above them 2. The upper level wall piers supported by columns 3. The ceiling beams 4. The inverted “obelisks” on the wall niches 46. Which one of the following was the Cortile of the Belvedere used for around the time of its construction during the papacy of Julius II? 1. A cow pasture 2. A pleasure garden for the pope and his associates 3. A storehouse for munitions 4. A prison. 70. In this view of a garden wall at the Palazzo del Te, which is not a detail that has been subjected to Mannerist distortion? 1. the triglyphs, 2. the keystone over the archway, 3. the faces on the metopes, 4. the engaged columns 71. In Mannerist architecture, walls of this type were commonly made of_________________ 1. 1. cut stone or ashlar, 2. brick coated with plaster, 3. brick coated with stone, 4. stone coated with brick 72. The intrusion of the keystone into the pediment over the archway is______________ . 1. a classic Roman detail, 2. a detail borrowed from Spanish Renaissance architecture, 3. an intentional Mannerist violation of classical conventions, 4. the result of a structural necessity 81 Session 28: GIANLORENZO BERNINI (1598-1680): ARCHITECTURE AND THE BIRTH OF THE BAROQUE NAMES AND TERMS baldacchino: a canopy over a throne, altar, etc. Cellini, Benvenuto: mannerist sculptor who discussed whether a sculpture should have one or many view points. Cerberus: a mythical three-headed dog who guards the underworld. concetto: Italian term commonly used to refer to the concept or literary theme in a work of art. docterine of the affections: every motion is an emotion and vice versa figura serpentinata: in Mannerist composition: a screw-like build-up of bodies. forced perspective: in architecture, the convergence of walls and/or floor and ceiling to create the illusion of greater depth than actually exists in a space. piazza obliqua: a non-rectangular or non-orthagonal plaza. The opposite term is piazza retta—a rectangular plaza. SCULPTURE AND BUILDINGS Bernini, Rape of Proserpina, 1621-2 Bernini, Apollo and Daphne, 1622-5 Bernini, David, 1623 Michelangelo, David, Bernini, Cardinal Scipione Borghese, 1632 Bernini, Cornaro Chapel, 1645-52 Bernini, Bust of Louis XIV, 1666 Bernini, Bust of Francesco d'Este, c. 1650 Bernini, St Peters: Cathedra Petri, 1656-66 Bernini, St. Peters: Baldacchino 1624 Bernini, S. Andrea al Quirinale, 1658-1670 Bernini, The East Wing of the Louvre; four schemes, 1665-6 Bernini, The Piazza of St. Peter’s Bernini, Vatican, Scala Regia, ISSUES FOR LECTURE 28 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What features differentiate Michelangelo’s David from Bernini’s David? How might these features help to distinguish Baroque sculpture from Mannerist sculpture? 2. It has been said that Bernini created a number of new sculpture types? What were some of these types and what made them unique? 3. What were some of Bernini's innovations in the use of light in sculpture and architecture? 4. Explain the optical effects of the Scala Regia. 82 5. Explain how Bernini used color in his sculpture. 6. What connections are there between Bernini’s approach to sculpture and his approach to architectural design? 7. Explain the geometry of the piazza at St. Peter's. Why did Bernini choose this geometry? 8. Explain what Bernini’s piazza for St. Peter’s contributes to the experience of those who go there. 9. What is the difference between an oval and an ellipse? 10. What was the role of the concetto in the design of a work of art? Do you use something comparable to a concetto when you design something, and, if so, what does it contribute to your work? 11. How might Bernini’s sculpture be compared to the development of a piece of music or to the unfolding of a story? 12. Why didn’t the French accept Bernini’s designs for the Louvre? What lessons might be learned from Bernini’s failure to please the French with his designs? 13. How did the optical effects of the Scala Regia preserve the social order of the time? 14. What connections are there between the development of the Baroque idiom and the Reformation? 15. Discuss the symbolic significance of the oval in Baroque architecture. 16. "The traditional separation of the arts into clearly defined species became obsolete and even nonsensical in Bernini's works." 85 Session 29: GUARINI, STEREOTOMY, CARAMUEL, BORROMINI NAMES AND TERMS anamorphic perspective: The geometrical transformation of perspective images (such as paintings) into forms which cannot be recognized or into forms suitable for projection onto irregular surfaces so that when seen from certain vantage points they look correct. Francesco Borromini 1599-1667 Guarino Guarini 1624-1683: In 1639 Guarini entered the Order of the Theatines and in the same year moved to Rome where he studied theology, philosophy, mathematics and architecture. He was ordained a priest in 1647 and appointed lecturer in philosophy in the house of his Order. Juan Caramuel De Lobkowitz (1606-1682): As bishop of Vigevano he remodeled the local church using the principles of “oblique architecture” which he developed in a book called Oblique and Right Architecture Considered with Respect to the Reconstruction of Solomon’s Temple in Jerusalem. His proposals for an oblique architecture created by doing what today would be called shear transformations on various architectural solids. stereotomy: Stereotomy may be defined as the geometric science of finding the true shape of planes in solids which lie in an oblique relationship to a given reference plane, such as plane of a drawing. BUILDINGS SS. Sindone 1667-90, Turin, by Guarini S. Lorenzo 1668-1687, Turin, by Guarini Palazzo Carignano 1679-81, Turin, by Guarini S. Carlo alle Quatro Fontane (1638-1641), Rome, by Borromini. A monastery for the Spanish Discalced Trinitarians. S. Ivo Della Sapienza 1642-1660 (Saint Ivo of the (Holy) Wisdom), Rome, by Borromini Cathedral of Vigevano (piazza façade only) Juan Caramuel de Lobkowitz ISSUES FOR LECTURE 28 THAT MAY BE COVERED ON THE EXAM Note: Please remember that these questions are only meant as a guide for study. Actual sample questions from previous exams of the kind you will be taking are given in the section below this one. 1. What is the probable origin of the term "Baroque"? 2. Compare and contrast the Baroque architecture of Bernini, Guarini, and Borromini. How are the “personalities” of their respective works different? 86 3. How does Guarini use forced perspective in his dome at Santo Sindone? 4. What is stereotomy? 5. How does Baroque architecture exploit the idea of transformational continuum of forms? 6. Is there any evidence that Guarini’s preoccupations with stereotomy had an effect on his formal vocabulary? If so, what was the effect? 7. In way is the facade Caramuel designed for his church at Vigevano an example of oblique architecture? 8. What was Borromini’s symbolic program for San Carlo alle Quatro Fontane? 9. In what sense can it be said that all of the geometry of San Carlo is based on the transformation of a single geometrical motive? 10. What is the exact geometry of the dome at San Carlo? (Be sure to describe it in both two and three dimensions.) 11. What might the significance be of the up-spiral and down-spiral volutes at San Carlo? 12. What might it mean to say that Baroque architecture is biomorphic or anthropomorphic? 13. What symbolic programs did these three architects share? 14. Guarini maintained that in contrast to the qualities of strength and solidity aimed at by Roman architects, Gothic builders wanted their churches to appear structurally weak so that it would seem miraculous that they could stand at all. Which description does Guarini’s architecture fit, and why? 15. Guarini said that “while the basis of architecture is mathematics, architecture is a flatterer’s art.” What does this mean? 16. How did Caramuel justify the employment of oblique architecture, and how might the concept behind it be related to anamorphic perspective and stereotomy? How does the concept of oblique architecture exemplify a Baroque concept of space? 17. In terms of the symbolism of anamorphic perspective, what might have been the significance of the one privileged spot from which the anamorphic image looked right? 18. As a spatial experience, how does S. Ivo Della Sapienza compare with San Carlo? THERE ARE NO SAMPLE QUESTIONS FROM PREVIOUS EXAMS FOR LECTURE 29