#triglyphe

[philoursmars]

Retour à mon projet de présenter la plupart de mes 53880 photos (nouveau compte approximatif !)

2014. Marseille au printemps. 

- les 2 premières :La Canebière 

- le reste:  le Port antique d’époque romaine, face au Musée d’Histoire et au centre Bourse.

 - remplois sur le quai du port

- enceinte de la nécropole avec alternance de triglyphes et de métopes

- la voie romaine d’entrée et sa reconstitution numérique

- la nécropole et le port.

[someday-dreamlands]

Representación de Helios en un triglifo del Templo de Atenea en Troya. (Conservado en el Museo de Pérgamo, Berlín).

[malpractique]

vore

bitchass

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[literaryvein-reblogs]

Some Architecture Vocabulary

Arcade: a succession of arches supported on columns. An arcade can be free-standing covered passage or attached to a wall, as seen on the right.

Arch: the curved support of a building or doorway. The tops of the arches can be curved, semicircular, pointed, etc.

Architrave: the lowest part of the entablature that sits directly on the capitals (tops) of the columns.

Capital: the top portion of a column. In classical architecture, the architectural order is usually identified by design of the capital (Doric, Ionic, or Corinthian).

Classical: of or pertaining to Classicism.

Classicism: a preference or regard for the principles of Greek and Roman art and architecture. Common classicizing architecture is a sense of balance, proportion, and “ideal” beauty.

Column: an upright post, usually square, round, or rectangular. It can be used as a support or attached to a wall for decoration. In classical architecture, columns are composed of a capital, shaft, and a base (except in the Doric order).

Cornice: the rectangular band above the frieze, below the pediment.

Dome: a half-sphere curvature constructed on a circular base, as seen on the right.

Entablature: the upper portion of an order, it includes the architrave, frieze and cornice.

Frieze: the wide rectangular section on the entablature, above the architrave and below the cornice. In the Doric order, the frieze is often decorated with triglyphs (altering tablets of vertical groves) and the plain, rectangular bands spaced between the triglyphs (called metopes).

Metopes: the rectangular slabs that adorned the outside of Doric temples, just above the exterior colonnade.

Order: an ancient style of architecture. The classical orders are Doric, Ionic, or Corinthian. An order consists of a column, with a distinctive capital, supporting the entablature and pediment.

Pediment: a classical element that forms a triangular shape above the entablature. The pediment is often decorated with statues and its sides can be curved or straight.

Pronaos (pro-NAY-us): the entrance hall of a temple.

Triglyphs: a decorative element of a frieze consisting of three vertical units.

Vault: an arched ceiling usually made of wood or stone, as seen on the right.

More: Word Lists

[cleowho]

Real Police Box Location: Castle, Scarborough, North Yorkshire, England. YO11

Police telephone box. Circa 1920. Wooden construction, square in plan. Window to each face with marginal glazing, one set in door. Wall surfaces divided into panels. Triglyph frieze to cornice. Shallow pyramid roof with iron ogee section guttering, capped by police call sign.

Description from britishlistedbuildings.co.uk Photos by Chloe "Cleo Who" Mortimer

You can find it on Google Maps here.

[riftdancer]

//ooc. your local editor n chief at The Daily Triglyph

[philcollinsenjoyer]

architecture exam tomorrow. soubassement stéréobate stylobate tore inférieur tore supérieur fût astragale corbeille tailloir architrave perles/moulure frise -> triglyphes & métopes fronton -> tympan rampant. tambour dôme lanternon. chevet rotonde chapelle axiale chapelles latérales baptistère massif barlong transept clocher flèche. narthex nef centrale nefs latérales/bas-côté transept -> croisé croisillon chœur/autel absidiole déambulatoire chapelle axiale chapelle rayonnante. arcade tribunes fenêtres hautes. archivolte voussures tympan tore colonnettes linteau trumeau jambage seuil ébrasement. toit corniche modillons contreforts baie en plein cintre plinthe. colonne adossée pilastre colonne engagée

[athensticketsandtours]

Athens Tickets & Tours: Making Your Parthenon Tours More Insightful

Greece is among the top holiday destinations in the world. The country is recognized and commemorated for its rich history, architecture, and city planning. However, if you are in Athens, you should visit Parthenon Athens. It should be a part of your trip for sure.

You can rely on Athens Tickets & Tours for all your Athens tours. The company offers excellent ticketing and touring services. The curated tours from this company help you enjoy every hour in Greece exceptionally well. Here's why you should visit the Parthenon with an expert from this company.

Understand the Significance of The Parthenon:

The Parthenon is not just any historical or tourist site. Instead, it is part of Greece's culture and essence. The temple on the top of the Acropolis is dedicated to Goddess Athena, protector of the city.

The Parthenon holds a high significance in Greece. Therefore, every visitor must understand and experience its essence. You can easily rely on Athens Tickets & Tours for a meaningful and insightful tour of the Parthenon. So, make sure to book the Athens Parthenon tour with the help of this service now.

Understanding the Mythical Stories Depicted on the Temple:

The architecture of the Parthenon is not the only thing that’s going to amaze you. Once you get closer, the images carved on the triglyphs and metopes will strike and stir you as well. But for this, you will need a tour guide.

Understanding those carved depictions is not easy. However, a guide can help you learn about those mythical stories on the walls and columns. You can always rely on Athens Tickets & Tours for this. The company offers excellent guided tours to the Parthenon. Along with this, you can get some tips from the experts as well.

More About This:

The Parthenon is one of the most famous sites in Athens, Greece. But there is more to it. You need Athens Parthenon tickets to visit the sites. But your tour company can take care of it already. Therefore, you must connect with a service like Athens Tickets & Tours.

The guides and experts from this company will help you a lot. Firstly, they can help you get the tickets, take a tour of the site properly, and get familiar with the ancient Greek culture. So, make sure to choose the best assistance and guidance for your Greece tours.

Check out all the details at https://www.athens.tours/.

Original source: https://bit.ly/3ShP2qt

[p-isforpoetry]

Read by the poet: "Memorabilia" by e.e. cummings

stop look &

listen Venezia*: incline thine ear you glassworks of Murano; pause

elevator nel

mezzo del cammin’ that means half- way up the Campanile, believe

thou me cocodrillo** —

mine eyes have seen the glory of

the coming of the Americans particularly the brand of marriageable nymph which is armed with large legs rancid voices Baedekers Mothers and kodaks — by night upon the Riva Schiavoni or in the felicitous vicinity of the de l’Europe Grand and Royal Danielli their numbers

are like unto the stars of Heaven…

i do signore affirm that all gondola signore day below me gondola signore gondola and above me pass loudly and gondola rapidly denizens of Omaha Altoona or what not enthusiastic cohorts from Duluth God only, gondola knows Cincingondolanati i gondola don’t — the substantial dollarbringing virgins “from the Loggia where are we angels by O yes beautiful we now pass through the look girls in the style of that's the foliage what is it didn't Ruskin says about you got the haven’t Marjorie isn't this wellcurb simply darling” — O Education: O thos cook cb- son

(O to be a metope now that triglyph's here)

Source: The Voice of the poet - E. E. Cummings, 1922

[seekbeautyinthemundane]

Portrait of Doge Francesco Morosini (1619–1694), the man who blew up the Parthenon on September 26, 1687. Morosini, described it in his report to the Venetian government as a "fortunate shot".

As part of the Morean War (1684–1699), the Venetians sent an expedition led by Francesco Morosini to attack Athens and capture the Acropolis. The Ottoman Turks fortified the Acropolis and used the Parthenon as a gunpowder magazine.

On 26 September 1687 a Venetian mortar round, fired from the Hill of Philopappos, blew up the magazine.[102][126] The explosion blew out the building's central portion and caused the cella's walls to crumble into rubble.[121] According to Greek architect and archaeologist Kornilia Chatziaslani:[100]

...three of the sanctuary's four walls nearly collapsed and three-fifths of the sculptures from the frieze fell. Nothing of the roof apparently remained in place. Six columns from the south side fell, eight from the north, as well as whatever remained from the eastern porch, except for one column. The columns brought down with them the enormous marble architraves, triglyphs, and metopes.

Accounts written at the time conflict over whether this destruction was deliberate or accidental; one such account, written by the German officer Sobievolski, states that a Turkish deserter revealed to Morosini the use to which the Turks had put the Parthenon; expecting that the Venetians would not target a building of such historic importance. Morosini was said to have responded by directing his artillery to aim at the Parthenon.[100]

When he conquered the Acropolis in early 1688, Morosini attempted to loot Athena's and Poseidon's horses and chariots from the western pediment of the Parthenon, but the sculptures fell on the ground and smashed.[4][5] This was the first documented attempt to remove sculptures from the pediments.[6]

He was given the victory title Peloponnesiacus, and was the first Venetian citizen to have a bronze bust placed during his own lifetime in the Great Hall, with the inscription Francisco Morosini Peloponnesiaco, adhuc viventi, Senatus.[3]

By the painter Giovanni Carboncino

[metmuseum]

St. Peter's, cornice and architrave, profile; key, elevation; triglyph and guttae, elevation and section (recto) blank (verso). early to mid-16th century. Credit line: Gift of Janos Scholz and Anne Bigelow Scholz, in memory of Flying Officer Walter Bigelow Rosen, RCAF, 1949 https://www.metmuseum.org/art/collection/search/360454

[steveturnerdesign]

Living Tradition (Triglyph Books) Complete book design for Living Tradition: The Architecture and Urbanism of Hugh Petter, showcasing the award-winning work of one of the worlds’s leading traditional architects.

[allaboutaparthistory]

35. Acropolis

Athens, Greece

Created by Iktinos and Kallikrates (both architects)

Created c. 447-410 BCE

Marble

Visual: The Acropolis is a rectangular Doric temple. The Doric classification comes from its large columns that go all the way into the floor. The capitals are simple. There are triglyphs, which are images, and metopes, which are the spaces between the triglyphs, at the top of the Acropolis. There are four Ionic columns on the west end of the temple, giving the temple some ionic elements. There are images of Greek battles, and even a sculpture of Athena herself.

Context: The Acropolis (AKA the Parthenon) is dedicated to the goddess Athena, whom the city is named after. She is the goddess of wisdom and is associated with war. Math is riddled throughout the building, as its general proportions can be laid out as x=y*2+1. It was first used as a Greek temple for Athena, but became a Greek orthodox church, then a Roman catholic church, and then a mosque. During the 1600s, the Venetians attacked the Acropolis with gunpowder, blowing up part of its inside. Then in the 1700s, the Turkish government gave Lord Elgin access to bring the still-standing sculptures back to England. It is thought that the Acropolis was paid for from plundered treasure from the Delian League.

[rabbitcruiser]

Cudillero, Spain (No. 8)

The main architectural works of the council of Cudillero are:

The chapel of the Humilladero: it is Gothic but very reformed. Its structure is square with buttresses and vault of warheads. It has an altarpiece of the sixteenth or seventeenth centuries.

The church of San Pedro: it is Gothic but from the sixteenth century, it is paid for by the people of the town. Its structure has a single nave with a ribbed vault and semicircular apse. During the Civil War it was burned down and rebuilt. It has recently undergone a restoration process.

The church of San Martín de Luiña: from the eighteenth century], has a Latin cross plan with three naves. The walls are plastered masonry and ashlar that is visible in cornices, arches and pillars. Everything is covered with a vault except the domed transept. It has lateral porticos that opens into three semicircular arches on pillars. The sculpted decoration is on the door with ribbed pilasters and ear moldings. It has three good baroque altarpieces.

The church of Santa María de Soto de Luiña: is a Historic-Artistic Monument, its structure is a single nave, double transept and semicircular head. It has a square tower of three floors, in the upper two with niches and between them rectangular windows, the tower is completed with stone cornice and gargoyles in feline shape. It has baroque altarpieces of the eighteenth century, the largest dedicated to the Virgin of Humility that adapts to the shape of the apse.

The rectory, next to the church is a Historic-Artistic Monument, with a rectangular floor plan and two floors of masonry with stone frames. Its cornice has triglyphs and metopes. The building was restored and dedicated to a house of culture and museum, where a varied collection of sculpture, sacred ornaments and goldsmithing is displayed.

​Source: Wikipedia

[gangigungi]

Syncopated capitals.

Shafts in 4/4.

Triglyph triplets.