| INTERIOR DESIGN | COMPILATION REVIEW. ween foun i any other places in kates Axi, North > Aiset® + Leg" om the place in southern Beancy. their arts have Tar been Tound in kurope aid cs - of pintings of animals ware found in the caves known as: Jp Soainneere psimings oLBlaap, Deer Harty and other Pe of ie sie or lege, punted in pe, bgp Jeon 7 fa Rem contains dozens of ot fem haa those of Altai Houses: ' eco pies of ron teil usualy mae of woven +” cegeespinced in nay eto pacizaga ors ee 0 -aueroen ae " ee vere one sirens eta and cook one's food? + Construction of tha pe af house ewes “Wocgallsaatansterinzcke we ‘piled oft-op ip of the anothe# with weight oie + 226 windows + ASoors in one comer + “Hoof js usually made out CoP Nat sad Sonstnvctias © aia + sigstanybeehive shaped houses Bawindews,one doote. + With ale on tik. directly above the cooking hearth + Noarchitecture yet ‘+ Tools, stones, bones and ivory were semi-poished ‘+ The use of egg ahells for bowl and plates + There were sophisticated carvings on tools + Bvidence of bottom clothing ‘THREE MAJOR PERIODS: ‘A. RAUEOLITHIC PERIOD (OLD STOWE AGE) ‘These Homo Sapleng, Cro-Mogidin or Mebleri tid made his appearance during the late Paleolithie Period which is farther subdivided inte the following Periods:B. NEOLITHIC PERIOD (New Stone mt made of stn dried clay/mud which we now call adobe {was the best material beeause it was resistant 10 changes in temperature and weather + They bullion top of sane foundations, piling ion top of fone another AK this age. homes were more semi-permanent They had doors, frepinces and hearths ‘Tools used were ground sind polisved stone teots, Painting nile showed group coraposition, lively movement, ‘lose observation of pasture aid anatomic detenee + Developed pottery ina profusion of excellent shapes decorated with geomettic omaments of borders, eaevrona, igeage, and spirals + Painted pottery and clay figures were also made. * Proper clothing for men and women ute it 4. eeshive site sect airs. «the fecond floor was usually for sleeping but sometimes also used as a sterage place for food and other items that need to be stored throughout winter «this archaeological evidence found in Cyprus, a ‘sail island in the Mediterranean Sea near Malta ape < Bee! Flan Used later on by th classical Greeks + the door usually is found in the rectangular oom and notin the bee hive i. “Stee epee # WT Bhacological evidence found in Jericho, Jordan 5,000 Be 5 Bone tower were surrhised to be use as a fort for defense 9 Sour tena er yaa. ‘the dogma “form follows function” ings of architecture, plana ofa structure ‘were built according te finction A. Architecture megalith structures? ‘Tools used: ground and polished stone tools Painting made use ofthe "Bast Spanish Style showing groups of men ‘and animals 24" to 6" high in sihouette with no interior deta, Tas eePREHISTORIC ART "rial of ime before people kept written genet. fore history wa Teco STUDY OF PRELISTORY. Frebintore times come bom ridensesibe Wolr, deans, pottery, Negues Jowety, and other objects let from the earliest pat cf pectic: creel geseause many ofthe objects lft from the evtest part of pete > are Gans gene toals and weapons. The periods a whole has been hemmed one one Re Scteatats cay on research about the way stone age poop ved snd at they wccamplishied. Gates ‘objects shaped by human beings. ci ei Fossil nina bones and tee i by plant and animals, Scientists Who Examine Evidences in Different Ways: * ARCHEOLOGISTS - study places where Prehistoric people lived, * ANTHROPOLOGISTS study artifacts, bones and vines lew eed [ny te determine how peapladooked like, how ‘they ate, and how long they lived * GROLOGISTS.; analyze fagpiln and the racks in which they are ‘ound. * CHEMIST AND PHYSICISTSs use special methods o estimate the ages.nlarifactaand other remains from Ue pat . br contribute their specialized ‘knoveledge about plants and snimaley DATROUITHIC PERIOD Oovegor + Défore written history + before writing + theHoma Sapientor made his use of bers, ‘no household utensils, ‘no proper elothing no architecture yet The longest part of prehistory is called ‘he Old Stone Ave or Paleolithic Age, Men snd Women af this pert were + Gaede people whe have ‘Qp-pemmanent homes they wander. cere nae + GEARED re wiser reap of Paton ning pote te have ved T0000 se GO a ng Feni ee) consists of stones placed ane an sap af dhe other, ‘and covered by'a stone slab Indicates whores Person ix bane gaygzpy 4, ‘Upright stones laid in’ éifcular fashion.and at the center is @-dolimon. Indicates where a tbe doce thelr the most imposing is the one IEHENGE) fh England which dates TRILITHONS -. BLUESTONES Linens SARSEN STONES OPEN END FACING east+ PauTina @ THQUSTERANPERIOQ: ara the use ofsiemenys for Dodily emamentation. i ° 160,000 BETO 40,000 Be) where the earliest as well as the mont developed eave paintings? were mavte, The early style was in simple outline, was hard and rigid wit continuous content and no interior ‘modeling, The animals wese comeeuly deawadin profile und the resemblance is unmistakable. Horaes were drawn in front view rather than the visually correct perspeetive with Suuent contours and aurfacen hrosdly punted ty Dat nts, ‘There is no interior medlclang yet but ll four logs are ented, * 80,000 BC to 10,000 BC) - the Bgure a replaced with full-modcling with (he bony airueturé Sumeria was a kingdom in Southern Mesopatamia > period where archilecture really slarted weed hous * made of swamp cusdis bundled up by wicker threads then buried halfway through the ground and ends in an archi 2-PORTO-SUMERIAN (3,000-2,000 BC) a-trick buildings ~ ‘stil employed the use of mud bricks, + made as a structure which emphasized the existence « of gods = + predecessor of the typical temple which frst made use of buttresses and recesses as a decorative art b presence of @ Courtyard inside the walls. Ene door no windows fat roots + ‘eome wore rg anu nari, cocfed with vaulting oF ccominonly with reed malting covered with clay ‘and Fasting on short wooden beams i i Gee ea ees 2 - Receaeas + lighting “was. provided by interior courtyards and sometimes also by skybanls ‘8 ASSYRIAN e00-700 Bc) Hineweh was iis capital oly 2°” ery much concerned with interiors > the kings were elevated to the status of gods KIMG = GD2E (palaces sro kings ved employed the use of matenals such as: + ~avosum -looks ike marbio + Tlinesta0e | + alahasie used fr lining the ineroe walls construction of palaces made ‘use of more money than the ‘construction of temple inside wore free-standing columns in a room in which capitals were zoomorphic in shape . Gia Palaces ware decorated wih ceremonial posi. ‘UBualy of mythologic origin + + windows were of rectangular shape ‘symmetry was being carefully studied and employed ARBELAW 000 8c) inevel collapsed due to the conquest of Babylon under the reign of King one of the saver Wonders of the world 2 emphasis was on oxteriors as opposed to the Assytians whose emphasis was inleriers © exteriors were covered wilh glazed bricks and of vanous colors; moided with designs of flowers 4 steal ° predecessors forGENERALLY, ARCHITECTURE AND ART WAS BY DECORATED POTTERY AND STATUES OF KINGS, PRIESTS, OR NOBLES REPRESENTED AS FIGURES IN ZOMBAT “AND ANIMALS AS GUARDIANS” WITH THE FOLLOWING > gqylindrical and the rounder! form were used 3 exaggeratedtarge eyeRwore used wilh concentration on expression Ofphwer, shapes Toler becaine soller and texture of materials wore expressed => precious stones were used for color on the pupils ike Lapiz Lazuli and, Black Limestone = later siyles gave emphasis to anatomy which were stylized and »Yelet carvings: of Hons aod bulls: and al the same_tiiye human, headed winged buils wece made EXAMPLES: 7 “6 Gate of Ishtar Fhe Hanging Gartons Of Babyon | i Tower of Babel * aplai Mesopotamian Bull Moti ee aMESOPOTAMIA x2 “The Land of Two Rivers” Religions and Historical Periods: ‘ Sole ipo. Gb ‘Sumeria 4000-1900BC_ p Babylonia 1900-7298C CRY Cub Fre Assyria 729-605 BC F MES lanl Chalea sos-siesc || Arey BAD Bids wuld LET | (ONMENT ¢ ee Moespoinua ewicjvia Wek ealtire aul GCAO TE say EUPHRATES rivers in the fertile crescent. It has no natural barriess and is eanily invaded. Its art affected a large area from Armenia to Syria and from the Persian Gulf to the Mediterranean, RELIGION a “ i ip of ni ‘with @ powerful Priesl¥y class, magicians, and soothsayers, Their beliefs range from stan, omens, and life after death. HISTORY First information of Mesopotamia was from a wedge-shaped writing called, sciphered from the Behistun Rock, Yadeed af We-Befn WAS CUVEIP ORD) EVIDENT Sear oy be SCULPTURE x” i GENERALLY ARCHITECTURE AND ART WAS BY DECORATED POTTERY AND STATUES OF KINGS, PRIESTS, OR NOBLES REPRESENTED AS FIGURES IN COMBAT AND ANIMALS AS GUARDIANS WITH THE FOLLOWING CHARACTERISTICS: PRORATED lange EYE Cylindrical and the rounded form were used Exaggerated large eves q q > were used with concentration rg earnlee on expression of power, shapes later became softer and texture of materials were expressed > Precious stones were used for color on the pupils lie. nal ii > Later styles gave emphasis to anatomy which were stylized and portrait-like» Relief carvings of lions and bulls and at the same time Eitan headed winged Hull were ade EXAMPLES TheGate of Ishtar | The flanging Gardens of Babyl | Treaeuerapbebel = Boman Jibopucé aE Sumerians were consi i 2.Cant/ ok meyyygivilization after the region summer which they inhabited, near the Eonfluence of Tigris and Euphrates.» : ‘Their origin obscure, their language is unrelated to any other known language. They came to southern Mesopotamia from Persia, founded a number of city-states and developed their distinctive form of writing known as the Cuneiform characters on clay tablet, ‘This transitional phase corresponding to the pre-dynastic period int is seen in Sumer around 400 BC. ARCHITECTURE Since little or no word was availabe, except in the North, the Hn MOOG, sorerarciana used dum oon hee bricks, reeds, and Ate FUpte] clay plaster as building materials, Burnt bricks and glazed ceramic 3 Benlllige af , Wea were sometimes used as facing on, miud-brick walls. The post, jah. and lintel method of construction wad Cited to the avallatle Ye it ‘materials so the principle of ARCH and VAULT was widely applied <-_ Particularly over doors, portals, halls, and drainage channel tay; kerja Houses, palaces, and minor temples were only one-storey : Zyaped’, igh. Rooms were long and narrow, roofed with vaulting, or ylghts commonly with reed matting covered with clay and resting on short wooden beams. The rooms were grouped around a court. The as ir“ exterior walla were sometimes as much as 28 feet thick { | Lack CYCLOPEAN) and walls were broken by windows. Walls were Tefen. Wi fegewritewashed, lighting was provided by interior courtyards and sometimes also by skylights. “ 1, PRE-PORTO SUMERIAN (3,500-3,0008¢) a = Sumeria was a kingdom in Southern Mesopotamia Peiod where architecture really starteda. reed house ! * made of swamp reeds bundled up by wicker threads then buried ‘halfway through the ground and ends in an arch. 2. PORTO-SUMERIAN;3;000-2,000 nc) 4. brick buildings. ‘still camployed the use of mud bricks ® made as a structure which emphasized the existence of gods predecessor of the typical temple which first made Use of buttresses and recesses as a decorative art orem = Temples with pillars for support \ Massive structive * igcexample of eee standing nar of bricka MESA AL Gust, B‘2,500 Bc) © temples with many rooms © usually asymmetrical ZIBGURAT [Bieeurat 1 ase h cil Dirafoia’ i al a Ziggurat is a stepped brick tower with a small shrine on top. It is considered by the Sumerians as a ladder for the ME ~ gods. The purpose is like that of a temple tower. Inside | a fom TOG sce scones at te top of the ee ine = Conk, ~eomfortable couch and a golden table for the use of the gd when he comes down the earth, It resembled a Jobde pyramid, The base waa hundreds of fect on ite ede and a Bkzoo five times the height of a man. It was either a square or a 168 A Py erp rectangle or oval oné. It has seven stages. Colors of the stages are blue for the shrine to represent heaven and red GEERT BEX DON toe carte Soke underworld Pe Cpe tao ne, p70 fesse* Truncated pyramid which holds a shrine on top | Made of sun-duied bricks = Without interior chambers ® Every layer/ level is of a different color # presence of a courtyard inside the walls -one-door, na windows, = Datvoofs , = one storey high . " roome were dang and narrow, roofed wit © commonly with reed matting covered with clay and Testing on short wooden beams. * theexterior walls were eomietimes as much as 28° thick (CYCLOPEAN ) and were unbroken by windows = walls were whitewashed * provided by interior courtyards and sometimes al skylis JASSYRIA {800-700 Bc} MVE Y Caio scpagnjes ARCHITECTURE) F g ‘They use_Axch form in their ‘Structures. Entrances were Lee, flanked by great towers and wit : ‘carved in stone, ‘geod On, 6 Wég-= _ . = Books were housed in libraries usually attached to Aikdalces | temples. Rof = Schools were located in temple grounds. “Wiig Erne. OMA & it Sen eS Kingawere elevated to the statu of gods, MonceG ne y Th fe Phere} ar a where kings lived + Employed the use of materials ‘such as: hecfangubap ‘WirdeiS 0 Gypsum = looks like marbie ¢ Ofoubr. © Limestone © Alabaster ~ used for Jining the interior walls LWESTHE JABS AVP exits bisiong* Construction of palaces made use of more money than the construction of temple | + Inside were free-standing columns in a room in which capitals were zoomorphic in shape * Entrance to palaces were decorated with ceremonial in + Windows were of rectangular shape | *} Symmetry was being carefully studied and | ‘employed fscmemRE1 Was chiefly narrative, human forms were stiff and -Aloward. They were fighters and huntsmen and their incised wall sculptures portraying the(crucliy) c. BABYLON600 Be\ibaByLont CHAPEL Manwigaps) f Babylon has become synony mous with lens tise, luxury and the city pass to its downfall Pabylonians were agricultural-minded people who build rumbling Mpuchosb ser i Jed brick hand vault "Wraing trardenc Principles. anv’, Hamurabi conquered all of Mesopotamia and established a > Great empire with the capital at Babylon. His contribution was the J week Code of Hamurabi. Nebuchadnezear made the Hanging Garten for his wife, The Hanging Carden is considered as one of the seven CSardat — oniders of the ancient world. They divided the week into seven Wy days, They also invented the water clock and sundial to measure time. _ They built monumental tombs, elaborate palaces and temple By towers or ziggurats which were terraced flat-topped by pyramidal \Glard hpichr chambers. A series of ramps connected the various levels and lod to the shrine at the summit. One of the rulers, Nebuchadnezzar W/ Cofep- was responsible for one of the Wonders of the World, "The nen GeoutHanging Gardens of Babylon”, Nineveh collapsed due to the conquest of Babylon under the 4 reign of King Nebuchadnezzar, one of the greatest builders in history. «| Hanging Gardens of Babylon 4 } Architect: Semiramis > One of the seven wonders of the world$HBONOLOGICAL ORDER OF sivLES STYLES_OF ANTIQUITY [42 A. PRE-HISTORY | |. Filed up boulders or Dolmens ¢ > slone tables = Tene a antucled of unknown boulders or shanad slabs which seal without the use of moner a SUES aay bag of a gy. dey Y lNIERIORS I al werk Ge eae acral ley) peed te Sides ON, 2 Te on or ea sma Serge ofa wottthob Stained tke AYE, Nouses Of Epes tac secon windows unde root asee by Hate ne Vth wrngt,ot Eovblons wore nao of auuating lcs pi fet eae Rowe: The Wade windows. Evening ne They painted the. trom «(A Syplan nel, OVEN wh Ulceoricaneh wich gove eee Toy Eoyation hes ht foe eee wth ta hooves + suinuee fre. Jewell hoof GENERAL CHARACTERISTICS O} j EGYPTIAN FURNITURE Wo re 4; Recliinecr with sraigh! lines predominating. | ‘Animal fogs with Bul were used as supports, SFissiantation wos saomatic oc plant eckad with sch overoy ¢ Sepelbs ol pep ilar Wary: lolonce; somiprocour sen caro § ‘and othermetols, 5. Coleg were bold and symbole 8 The SBe wes ine tealing ploce. wih CHARS: . ing the mos! important pleee of facie: 2 'ef9 Used for storage of clothing and Enen, 2 & Carblexbiney wos nue chor mise an leven, dove imiter ACRE lathe ured pats ond the use of box steers if "wos Used fer chal Vamih orgeisa wos used to teaver, + “AUS pont woven toga: : + [GEST made of Seater ca ono md + ACCESSORIES |) RAIBCES type of eorihenware fhade of Juartz. dnd created ERAas COM POE, rod too ola ike Sune ere FEAL ‘oulsloncing wos hat feshicring of ene wherein eG tel os sl alabaster wes cut by Raney OO large thin vases, hollowestoul_ond highly polshos> _» uM VIET own ewnseaiod TH€Det Ancient Egypt was her most momentous contribution to world The Egypian attitude towards lite aftr death, tho kind of text here ease. pharaohs and his alltude towards himself not only influenced tNe architecture thal gree we in Egy. X shaped it. For Egyptian architecture is so monumental tha His tre ‘monument than itis architecture, ‘When Egyal was reaching he height of her chilzalion, the young civilzations ot Chine, Mesopotamia end insta had thor besngs. Aman is sary Ree counties, Egypians produced the most advanced art and the art wee Torerted Wraee {.2al stone monument, in the elaborate wal painings, inthe magniicen ete ye ings andin the sculptural works which were engraved'by scapes + Coping fered 9 amamet SSE Metmrabon of he gods REUGION Sy stayed a dominant olen the ie ofthe Egyptians. They believed in the te ater detth which was experienced in their tombs. m CLIMATE, ‘ The very dy climate of Egypt preserved a fl of tombs and possessions which Serv80 38 9 source of information regarding isoy. curs and ao Fone Archaic Period * . 1. ie use of Egyptian architects 2 Butcing of monumental vance. 3. “Funerary terptes 4 Rodeout ims 5. Golden tursture art corto of interne of King chambor {6 Use of catit both for war are peace * Zavolian Sout S 5 Jag sculpture is characterized by extreme simplicity and grandeur. Theso Sculptured works were in the folowing lorie ‘fmagniicent lions, buls of red granite ‘b-sealed figures of kings and queens, ecthe Sphinx Starving siands out from fat backqroutid This decrees that 2 figure in the round must not be twisted in anyway. Th aeaimust eck Lid und each dou Becnatly Meche se aah the 1S and the feet could be in a diferent portion: ° Egyplian Art wos develoved as early as 3.000 BC The ad of Egypl was the basis Selptore ange, and Rome, The ar vas exgvessed notin terme of pontine item ang erhtecture elected the reiious belo of the Cayptink ae eaich maint 00s and goddesses ang tne bekel wife ater death These tens* Emphasis was on exteriors as opposed to the Assyrians who phasis was interiors *Hxtetiors were covered with glazed bricks and of Near Eastern Building Examples 1. The ziggurat near Susa is a thirteenth - century B.C, Babylonian Minep Siructure. It consists of five tiered buildings set on top of each cts st, 350" square and 172" high. Some Aswyrion agewoace Cane up to seveu levels. 2. Th ‘was rebuilt by (Abe Mehuchadnezsar Iin the sixth century B.C., after it was destroyed by the Assyrians, The fortified iile square andl contained a 10 ~ acre palace 3: yaresabad|was built in the seventeenth céntury by the zonji. The 1 - mile square fortified city conteined structare cop mPortant buildings, including the pulace of Sager tae Fampe wad ented 28 acres and was raised on a terrace acccccible by 4, The is a fifth ~ and fourth - century B,C. Persian Pall eh a LOO" 900%. A most impressive feature was 225" sqane hall with 37° ceiling supported by 100 columns, Tuk ANCHENT SEAR EAE “GLACE OF SARGON: KHORSABADAI WE MENT AD MES Ni] | EGYPTIAN KINGINWORY |moles 8 ww» Egpiomammce7 i j seg er ae oe Ancient Egypt was primary an art of monuments. ts method 2 construction was so essentially simple and its material for monumental works wae oo imporshable, thal ils survival was truly uniqua. itis characlonzed by ‘severe ace grandeur of iis masses. its treatment of broad plane and the sculpluresque quali we unequal in fine performance. Egyptian architecture was perfectly suited to te ntng | environment FremiBDwere tornbs intended ‘88 renositories of dead bodies of kings and « | aueens.of Egypt's, ~ the Sandy desert adjacent to the Nile River, | The! ‘as a sculplural serving as a shrine at the seme time i was considered; the pyramid. Win the Third Dynasty starting about 2780 BC, Egypt entered its frst golden (Ret pasted more than S00 yesrs and thal is now: known as the Old Kinsdare introduction of metal tools ini the First Dynasty had faciitated stone & age The ‘dung the Oid Kingdom that Egyptian aichitacture developed some. of ts Tamar sod lasting forms SHARAcTERISTICS OF EGYPTIAN ARCHTTESTORE J, fectangular forms and straight ines are its dominant features 2. massiveness, solidity 3. perpetuity 4. walls were excessively thick 5. propositionis and supports were heavy and sturdy & Because of the nature of the tools used, simple forms’ and few mouldings are seen in Egyptian architecture, + Materials for Bullding Consteu J: sanaiogbrok-son a i Hs 3 Brastond nc ster ean easy tw cn iF ¢ Methods for Construction ~ 5 (8) for pyraniés and mastabas — lower vals thicker, upper walls thinner \Y testing in stanted walls fer termples and palaces post and lintel + Types of Columns and Capitals 1.-fapyrus bundle 2 (lotus). Palmiform (palin leaves) a2 2 us ACMESTABD ‘ hnerry temple for coomaness > awe ead rds 2 fe tomb tte od yao * yt ace iy oye a evden no ta GB) | Seties of six mastabas r Pyramid which was realy a ser (on top of one at Rea D> mada up df coloseal stones 20-50 tons each = burial place for. = 1ose nearly as Figh as 500 feet thom its base => as many 8 100,000 laborers, | 22 years to compieie one pyrarnict = contains for the mummified body of the pharaoh and sloreroonis for the luxuries of the dead = were built with perfect masonry, not utlizing cement, employs just the weight of the stone THREE MOST FAMOUS PYRAMIDS OF 1 Pyramid of khuty(CH#E0P5) 2. Pyramie ofKhale (GHEPHREN) 3. Pyramid ofdleckesata(MYCERINUS) Sut line tes pyran of Giza ony na suis the Pyrani Tapa wh ‘he Sphinx guarding the entrance . IGP OSE of stone with a pyrami Usually monolithic ang ieperta: osualy sed sa on rea Eoypt eCeuprED = lghtings were from clacestary windows = post and lintel construction = lorest of columns, |, ddaduane Templas~ devoted to thet 5 edead oharaoh 2 Gull Temales.-for the noel bee ‘of the ancient-and mysterious FOUR ELEMENTS OF AN EGYPTIAN TEMPLE PLAN 3 Axton acantance gale-anked by massive sina towers wih fg soles facshacacapon cov 3. upoends nay contains» cena cout omotecluans.ighas thea the oners 4 sanguin. contin AGED winch was vedas a receptacle for Sal salve tite go ‘on the sacred bark 'YPT FOUND IN GIZEH OR GIZA* F Gi ma » Rear eel of saya pau, is alsd a monument of the vast burial ground, fawn Gut of natural rock (limestone) and with the addtion of stone blocks was molded into a recumbent human. the: Sarpent.indicaled a king, the carving-of the face to represent Khafve tose valley temple is close by. 9 paved open temple is " the paw: Go ONES»: > These fombs wore located on Gifs) where they cut labyrinthine ways, hundred of feel and concealed ttSs 2 wot heisD ‘a-edlaraisc ra wh olspread wings etacre7 beolle- SCARAB “ura baste Stherooypies a lype [of decoration in which the design is made prominent by tail fn sian lass 1s aad Mi the inside of the outlinn is tha ane that is,carved out + Eavplianl War Decoration. SOP septa ct eto oo ha scares ». vale? - design is made prominent by raising i from the surface or background of the material 4. high reher 2 lowreliet 2Ginto> + Molifs and Omar 1 Ft6ral exterior wall used, = subject of wall murals was 1G show sefly activiies, tefl story -récord istory > Murals had no central point of focus because the idea was tc accentuate the wall rather than hige i 3 design goes from one end to another > the untan form vary distinct in thew wall decoration; usualy with face, logs and ‘eet in_pratie, shoulder and one eye in ‘eonlal position iti MALE, [PRENiesitaves e smallest in Scale nat 13 als bul towes_papyus . 2etfimal > ephinx (ouaal the pyramid) = .8an disk and vulture} signty =3-eagle wih outstretched wigs) protectin -2-satred Leole/scarab Ganetuneeae) ade of iovaliy =Sserpent 3 GeCmetria Capiat = £0 guiloche, chevron, palette, vave pattem, coil and feather, sprat campuntom Lobistotvrm: alton ato teinind Papinds Votee997 Main Division of typtian Histary Aun BoD tes Fe. 500 2448 He) SRO re oe ree 2 By nets) ings eal ies Ero etter, fbi peo, 5 irre by SME py PND Dass SVN (rN80 Sosa Sie ead eats oe lay a eiget te eek ° ae! ater Sr sty ae oo CRC na : 2 Mit een ed 02409 Cannot pes cane 2 Rta 80UC 40 395. The af Ce ty ep aie ‘ cl a ee 4 Alabina, bert nes he oe exeKOMMeNT Ieee flaes arch apd branches ot netic cor shee tempi inte iie Nedicrmcan Sea, ‘alti ofthe ver, fre the dyno rion, 1 behind a lar of fer to. In ee pnad epreetare potion frmtnetnneeen ae (ills fr un rons Loy sats esta Sale nda Leds conn nit nd eee fone oe t Rinhceea eden, imenone and gra sete the north comer of Ao, Upp gg gE Sp afte lander sdeoy he Gane ilo tower Lat mtd Wnty cn fone hea igh ne ah ma pod et 9p aye an periods of pone, “Hea ich highly devout pte et Motori Yer (3200 BAD say i divided 0 31 dass Archaic Period o Thine Pere Persian Paminan Siren Period £332 1 -ysap ‘ Manet Con Chun, 1A 924- Ady eagh Moen ee 40 ep brtaees % rie era ec dts de ” Mein wet Sein ens aa te canna ined Pisin an glee 1 sqremstthihedngjen i tet Athgh dc wate poy ig weve asad cmc ringFacumecriney] lawn tse ab nk sal crash geome patente ham for the boty on Tstine the oman. Sor de pn wr aa eee he ent rte aan ch al Sa iba Pyare nasi sre ie een po hh hes phase Poromite wer sul beg on a al al, cle ee «emerges tha te pro won coma dein de Kegs A tics combs were dated ante hoy cut te labora Balstigencs sands fet nl eocc st enrmets Th oa oo acecestaaiat aid burl chmapersclatr bese sere placed by ep. | -astoas gre larger and aor i Lee carry ne YOO once (24 fare) ter oy Bee SEES mcd cer Coal Myers) \ ca ae + li ce dal die nk al def a 2 “ i The ut af materi anes tke ti of wl ling in lating sie ‘ I ilar cae aoa tak a ict Interior Freament: lok with cole ob ru Rel iter een thot tony sins RES Ch 0 linentane raed beta CF at ntpmanctnintinane,, ed a ante Coen | lore [Pam Teil verte hance ofeveng‘Tein TR a th wl ccna on ey hr tei Splatt i tea asa daly ae hn ce “ma ee pee geet del thee tc ne Ai hl te shroud oe en PTE) 3.7 Re atc eee svete 3. Impornnt figures are made | Mec aaa Sipe se enael wet amblrencton Valve ce 60 ps)yye « posteton 2 Bayes mbotentogety ‘a 5 ont -aymb oper Sn ne ofan : Bin = Elngy Ti at of Ekin Ste Phe orton ti nd at deseo abigh eof pfecson “Wet flea cho Garde aphex tet” quo eee Manoel natn aeaaé mimetic alan 0 tht he best sen old be abn infrom T “estar mn al pesmi at hia merle Peembled he egring ‘Pharoah eet sone i dunt el. neste efit oicned by tuple, vigorous nase, "Prieto apis abl vf maketh in ree and te mene “Alek Epa sap bran efhaniness fe son fay ih tw eure "The sue are si© jp , | * iiss 1 ‘Sree spaces hidden ch : iat mie |> 3. DWELLINGS they age cade in plan. Provided with an QS OTTAEDI it mt multiple sores are made ofsuanedena eae > atacauchad clings Ten ee cc by « UCAow gu wl a any pin af sudden drop ie, edge of terrace Tol-Boicont | r . EGYPTIAN INTERIORS INTERIOR OF TYPICAL DWELLING + consisted of a emaill court large central living room + _twoor three > [tehen workshop) ga Es gen andes nt ant. nue ttn) amnesiac ee yee ro 1 css ns ome ‘St poals and irrigation ditch ee IeRe [eas | RUE TBE — ora ce LERGO + Houses of the wealthy le. dee cated an tal fogs 00% 65 Tabrice wire for ‘wood was used with proper econorty @inkoryas considered in frog ty tne wat nd back of Sen (08 the human frm Aw rpg eer ype, Titre 1 Retilinear with straight tines donnie cs in natural poston with the fet ceting on a Dapemeneic 4 Pent ttea/ ot drum were tse a sapponie Hone mayeue. 2, GA, ea 18 covered in cot Z ge ie HOE Sloat in oto, painted+ The people were ondy atin pod + Mey were wood to seatig ik 4Seatingpeson .CESSORIES + The making of ejeue), earthen wt an erin which the Basan Seo CHARACTERS OF EGYPTIAN BUILDING * Materials used were granite, basalt, and diorite hard stone), limestone {soft stone, lumber Palm, Acacia, Papyrus 2 1 + Construction methods O) the use of fan died brckda soft material that necessities ‘iaking the lower portion thicker than the upper potions resulting i , The use ie eons i at "ei teneal te tanks that spporied poaten pean, | INTERIOR TREATMENT | | § ' Ss ul = Irises Wall Decoration PUL ASTOR YTYPICAL FEATURE OF EGYPTIAN SCULPTURE THE LAW OF FRONTALITY (This decrees that the body of a igure in the round must not be ‘ovisted in any way. The. ‘each side ‘must be exactly like the other although the hands and the feet sould be in a different position, Reyptian Art wea developed us ear 2s 3,000 BC, The at of Eayptian was the base ofthe art of Greece and Rome, The eres expressed not in terms of painting but in sculpture aad eect, It reflected the religous belief inte especialy in ferent gods and goddesses andthe beliin lie after death. These Delete cee . sanifested in their architecture] works, ‘Maztabes were the earliest forma of tombs or structures intended ‘an repoaiterics of dead bodies: POOR TN Of GUE. Matte « Fitts “ powruah Welelben + Portrait of “Shauldee inteye Ye taloon + Figures were usually modeled in astata al repose, C EnISUCES od at, gal ener ih SYAVOS, LACDYES, Wren. ‘were made af} but rate Sorts cies rene we ota pena % fale fadshen °° hgenie vas tec terns, Ane — Pita shir’, etl SMLE- KED BUS CALE PEALE Yorke Soler,SGYPTIAN Al ECTU! 200 T1.C. = FIRST CENTURY A !NFLUENC! eS, A. GEOGRAPHICAL Exypt is located in jon along fertite lands. Most cities are located along the! mnks. The country is alsa referred to ag the SRIVERS ora nat of arrow sep offerte alluvial wot along both bank sihieh Ne laked by shelves of barren iand and rugued te beyond Ween th eer pleau, The Wile wes a trade octet Senses Wentern foreign trade and because ofits cocerflowing and fertilizing Fanpiiane onc rea ate rial Gels: Onis bakes tae, te Fayptians sited thei villages and cemeterice, . B. GEOLOGICAL ‘The cblef building materials are: TIMBER, CLAY, BRICK, STONE + GEORDSs abundant in Baypt in quantity and variety. These were ‘used in buildings and fog vesee re0nal a5 the country was, However, copper is gained chiefly Henure Sinai Peninsula. Tin wasinipoted for tke makinn he bronze + SIERB we citer SU-DRIED or KILN DRIED and used for ‘palaces and houses. + SEGIBERs also used for boats. + GET maceciats inctude: getetone 57 Sandatone Quantte Alabaster © Basalt Sil Sa ovine the Guratiy of hese materials that so many mamumente ‘tll exist GEE PAL ve tot Fa eter, ven were use i eesCua: Egypt has only two seasons GERING Mai. snow is unknown, rin is rare aa goes wan but ach ROLORY poteced the interir fogs te ectoe heat ofthe sun but also provided uninterrupted cee {or HIEROGEYPHATCS Prrsua]eeetton of reigous ital, histone eee Pursuits wg wy 25 ROSES ot san, yinina oft caused the construction of FLAT. Senet Hone sabe which sliced wo coer the buldanes nade the heat. 0. RELIGION te fee rar | Pe arm | Soe eres } ‘architecture, both of tombs and temples, traits are reproduced in the 07; has only two seasons: SPRING and SUMMER. The cate io rage ec RNG wt Se neta ; dl Mares Ss os pu= Central and despotic government made possible monumental projects Lusng the slaves (Prisoners of War) as laborers. Crafts indide! weaving, lass blowing, metal wot, jewelry, and furniture work . Science of Astronomy, Mathematics, and Philosophy were also studied, F, HISTORICAL ‘he mtn pro epee the vette stres + ope Aas Koa, 18 2-0 215 Bog game nadom4-/7 2466 ~ 1600. rer CH) Mek PegKe: oa Gazeta 3? ea EGPKOMAN "S.Joer Beiod. 385 - ep G. aRc! L CHA Ne, “The Primitive Architecture used realy av so tier sateriala. 1 is HUD BUILDING]; « COLUMMAR and ‘The character ofthe buildings exudes SIMPLICITY, SOLIDARITY and -SRANDEUR. rove SIECTGGESST SIS SUED what tte cay peels ei eisai nee cl ements Ser eae Scere ees weet ee Generally disregarded soumetry and orientation except the pyramid ® i . Temples have closely spaced internal columns to produce an impressive internal elect of unlimited size+ The, abning where crowded with columns and itm + Battered externally Wag he grandest achievement of Syptian Sandstone Granite} ‘which permted HIEROGLTDEACS * Temple wn emt PLONtopesovards he tp to give 2 harecter of masaiveness and crowed by @ 2. oremmas ofthun skin o tuce teen. snd Colonnades (a numberof cohumns arranged in onder entablature} . at intervals, supporting an Seldom sed are widows to avid sunlight coming in 2 Main etal st openings in wats eet openings oy rote, ivy Clerestory Screensenrtet 1 Primitive roofs age made of clay and bricks, {tone slab roof supported by column and/or walls > Temple roofs used: + For religious rites + Por procession by the priest ” TEIROENHENE developed because walls have been decérated with HEIROGLYPHICS,. > These mouldings consisted of + TORUS or ROLL MOULDING a= = = op ©. ORNAMENTATIONS, \ + Style = SYMBOLIQ. avorte desig for fet ac: ‘Lotus Flower from nature] + Papyrus . + Pai Lots flaver [painted LOTUS RLOWER fpainted, An ff ) JOT BuDpai PAPYRUS BURA not)‘THREE TYPES OF ORNAMENTATION: + Geometric forms rg Chevron lange with Chevron Gre Moy 3 Rossene Fret Solar “ae 4/ orbaheker bys ~ sheobin Seas 7 ee, pret fe 0 3 ° ° Scrolls with Rossette Solar Dish 3 a V9 8 Continuous Col Spirala 2 we om > WotEntasi outward swig Rope and Pateras omament Lotus vent the to ‘These are generally six times the base diameter in height Itis not monolithic and stand on a bese ifferent types of colurans are ‘Square pier Polygonal wth 8 or 16 sides Palm eaturn Bud column Bell column Column with fotated capitals+ Hethor Headed Capital t + OnisisPitars ¥ + Egyptian columns have of them shoy this VEGETABLE ORIGI Capitals derived fom the: 'S BUD 1 Papreus Power + UBIQUITOS PALM Fs dharactce sand very large number N rempes of Eayptian Calum end Capitals 4 5 4q a> PALM CAPITAL,TPES oF BUILDINGS: 1. TOMBS | JROTALCETERMI ~ fe floyuse bape, iy Vike, - suru he at I fg 5 Whistles Mefetneeaanareen, Aloe 2 Main, 3 Dead body is placed in: a gslden ot ix applied to the rurlace as a protective coating 3: Grand Gate 4 "Queen's chamber ~ seen ony in plan but vot implemented in actual construcion 5. Siag’s chamber 6 “penn provided or the Kia's Chamber, Grand Gallery and vauted passages,B. GEOLOGICAL Mal ound a Ronse ase agin 5 + vit Sern Fein. || 5 ? ft ca rt : seat structure] innovations was the Bice ns tet ganna re eee oan ex Seana nace aan ; c. comeate \* North aly has temperature elite. cena era ‘ ‘This vz clita accounts for the DIVERSITY OF variety of cltnatic conditions ARCHITECTURAL FEATURES AND TREATMENT. ‘he diftering climates ofthe various oman provinces produce! local ' ‘modifications in detail through Ro ect er PRONOUNCED end ASSERTIVE aa to leave litle choice in gencral design, D. RELIGION Religious feeling not as strong as in Greece. Religion was made part of the constitation later. 4 ‘The position ofthe empire 1FBS MAXIMUS is an indication of the GLORIFICATION OF THE EMPIRB)ather religious. Priests were not as powerful and influential asin Egypt and they a PERFORMED OWLY Tite SACRIFICE \ Every house, whether palace, villa or domus has an altar. 8 ANCESTRAL WORSHIP was recognised a pat of religous re. i wSontistent wait in Roman le, capacity for OBEDIENCE, isthe BASIS OF ‘SOCIETY AND sTaTe, The Romans in ther capacity as lawmakers, let a apecial mark in their history, Roman social system:_NO MIDDLE CLASS only the ‘raomcints sna staves ¥. tastontent Ast ac ba ts ia SERN, Neh nms dheg” 70" stating in 343 BC, Rome was able to conquer one city over another, ng a aap Toached its peak, discontent started rere assigned by ‘the King was overooked and started doing sbuses, he Empce” Meeks made wuthority weak and ed tthe décine and downfa of the EmpireII, DEVELOPMENT OF ROMAN ARCHITECTURE ‘The BTRUSCAN ARCH ultimately combined with the Greek method of sonsiniction, the POST & LINTEL. This result in the ARCUATRA SYSTEM of 1 construction or the Roman Architectural Sole BTRUSCAN ARCH + GREEK ARCAITECTURE fre Arch) (Trabested) —(Arcuated) Parts of the Btrusean Arch: = S.-SPRINGERS RD (Span) ‘The combined use of syle in its ealiont stages. 1 ‘The character of Roman architecture depended principally upon the ability of Roman builders io SPAN ENORMOUS SPACES ‘with the blowing, SSS teen seusaea.-. PRINCIPLE OF TRIANGULATION of the WAL tenets afwvden ces Y FOOL ie ces tpn ne ‘err san of 80 EO . ALES —~ concrete which alowed the Romans {0 build vaults of a magnitude never equalled tl the vw introduction of steel for buildings Three principal types of buttresses: i HEMICYCLE or NICHE ‘SPUR BUTTRESS a fe. PINNACLES. fj buttress ne es PAGE 4IV. ARCHITECTURAL CHARACTER 1. PLANS ‘The xtmactrs tht teefy tothe QREAT CONSTRUCTIVE ABILITY ofthe Romane ae a. Thermees 4. Aqueduets i . Basticas| . Bridges © Ampleaters -BUBLIC BUILDINGS were of enormous size, in accord with. the GRANDEUR OF a “Rowan rower. 8. STONE WALLS - walls of rectangular hlocks of stone + oFus QUADRATUM + Consists of reetangulae blocks a of stones placed ene on top of the other at regular intervals, * ALTERNATE OPUS QUADRATUM * ‘Two sizes of stones arranged in various courses to form the Wall >. GOMCRETE WALLS ~used unfaced for foundation & faced for walls. The a Tacs forthe concrete walls are of fur tree + oPUs INCERTUM » ‘Smal,sons msczon: + orvs orton itengaerecton 2 cree saycte Sree es sate we aught aa tee : | sstche seas Decora iets eth kare nd semcecuas headed and became DECORATIVE FEATURES in the design of atiae ‘buildings Semen MrT eeNerlly semi-circular nemded but SEGMENTAL. "ARGH CENTS SBOMENTAL - a circular arch in which the intrados sess than a semi-circle, | 4. ROOFS | ‘The Romans used the following types of roofs: 1 3e-TARABER ROOFS wore used for temples, Dasilicas and dwellings: ~ Spans of 50 te 60. we coma + notes es om “Cate eenne afte dacoveryo pore 8 cxtending the conor WALT conSTRUCTICN ‘There were two types mainly * Ross vauzr+ formed by the intersection of 2, semi-circular vaults of equal span (GROINED VAULT) * BAREL VAULT + leo mown as Annulat, Waggon or ‘Tunnel Vault. : PAGESoti atresia wie ncn te {production of the fllowing +7 poMES + + curOLAS « —_— __ “oaatcal orn 2 -_ ciccular base, often set on the ridge of the root NOTE: itis the wae (VAULTS & DOMES that isthe GREATEST INNOVATION of ROMAN ARCHITECTURE. orPEpino is wos! on he yds au and omen done nt oly nine tts IPSSEN THEIR WEIGHT snes ty were often of eum nie unncen PAN: in vale tig onde El PAGE 7| i 5. MOULDINGS (Characterized by RICH ORNAMENT and usually PARTS OF CIRCLES in profile. Roman mouldings were largely derived from the Greeks, ‘Their WORKMANSHIP IS ROUGH unlike that of the Greeks, List of most important mouldings are: @ CYMARECTA Honeysuckle omament ». CYMAREVERSA (Ogee ornament ©. OvoLo Egg-ike omamicnt 4 FIT Pisin ornament © ASTRAGAL Bead omament | caverto Hollow ernament s. SCOTIA Deeprhollow ornament re ES se"Plait omament 1. CORONA Deep vertical face emnament J. DENTILS : 6, ORNAMENTATIONS ‘The principal omaments are: a. SCULPTURE ~ numerous statues were brought in from Greece and led to the {formation of WALL NICHES (AEDICULES) for their reception b. MOSAIC WORK — Marble Mosaics for walls and vaults Glass Mosaics made brilliant decoration for vaults, + opus TESseLaTUM * “opus sect made of square tesserae to made of tesserae cut form geometrical patterns, into various shapes to form the pattern + OPUS ALEXANDRIUM * + ofus SPICATUM * smosaie laid in stone oF mbler type sarble paving, ade of small NOTE: TESSERAE - sniall cubes of stone, glass of marble weed for mosaic. a eo erac. MURAL PAINTINGS Decorated with elaborate and triiant paintings ins 1. CERESGOES or paintings done on ass. 2, CEEMPERDD « water soluble paint with ege white as binder ‘3 CQARNISED liquid resinous compound resulting in hatd platy finish, 4.CCRUSTIOD- corrosion of surface due to chemical reaction, V. ANCIENT ROMAN BUILDINGS “These structures are found not only in the city of Rosse but also in places where the Empire of Rome extended: # France...ne Mimes and Arles 2 Spain.......-Tarragena and Segovia S Germany... Treves abd Avacla-Chapella 1 North fica... Constantine, Leptis Magna and Timgrad To syria en Banlbek nnd Paleyria 1 England. Silehester ond that 1. MONUMENTS «GR ‘or vstorious comonigns. Dlicated to the EMPEROR oc GENERAL, it hod either t ‘or 2 openings. PAGE 10= Decorated with BAS-RELIEFS showing victories, + With an attic adorned with dedicate ~ Pless face with CORINTHIAN and or COMPOSITE COLUMNS + Pxamples: Arch of Titus, Rome 2 Arch of Trajan, Ancona * Arch of Septisous, Buenaventura + Arch of Severus PILLARS OF VicTORD - AMEMORIAL COLUMN ‘erected to record triumphs of victorious generale and emperors Examples: Colursn of 9 of Antonius Pius, Rome Aurelius, Rome 2. RECREATIONAL & SPORTS fuwite' On: * Some of these structures were adopted fom the Greek types FoUsed or ~ Stsnutonanconsass. > Roms peace Ge eas * BRIues nurwesn ae "TRAINING OF WARRIORS peat consisted of na-lliptical arena and is sometimes Nooded for miniature iodocat Bramples: The(Callcaana. as rin Verona (covered with voeahic debi For, 1 Stnetureeomerponea ‘he Greek Mippedrome + Sauter unit made tip of thermac ~ Examples: Circus Maximus ee, cra.+ Arefection on how the Romans value thet: i ROMAN PALATIAL PUBLIC BATH HOUSES were patterned after the Greek ' I Gymnasia } ~ Designed not only for bathing but also for socal, lecture and athletic meets n + The following are the people that serve the guest: Annointers ‘Strokers Manicusists Lamplighters: , Barbers Janitors d Shampooers Slaves +The major parts ofthe structure we as fellows: 1, THERMAE PROPER - Central structure of the Complex J+ SMALLTHEATRE’ sometimes included in the structure OPEN SPACE is located at the rear end and sides ofthe complex: a parc! in bullding planted with tres and ommamented with statuestsountains Nip where the athletes use for exercise and/or leisure walking, Tl, PERIMETER SERVICE SPACES « a-TBcTURE ROOMS SEEREDRAR— open perms facing the Nyse LOWNADES = 01 eNO eager wer povided by Aqueducta &. Examples: Thermac of Caracalla = aecomm: ‘Thermae of Diocletaa = accomm Thermne of Agrippa, Rome! ‘Themae of Titus, Rome 3, ENGINEERING STRUCTURES itis often that historians refer to Roman Architecture as UTILITARIAN. ARCHITECTURE. » This is because of these engineering structures: Te Purse is to camry water tothe city from higher elevations. ~ Pipings used were either BRONZE gr LEAD, > A smooth channel, the SPECUS, lined with hard cement cris by a series of arches 100-0" high to convey water over valleys sad gly rounds ‘Water supply for 860,000,000 gallons poured daily:samples: Aqua Claudia ‘Aqua Marcin, Romie Pont-du-Gard, Nimes, Fronce the finest Ronan aqueduct outside Italy -Roman ronds has a straight course from point to point regardless of ‘obstacles, = They appear to have been laid out in a line with some prominent Jandmark and its straightness is due to convenience in setting them out Examples NY» oldest & most celebrated for the grandeur ofits works First military highway . GRIDGESS4. DWELLINGS there er pee mainly 66RD tiated. “Apr oe uly wih an ats and 1 MEMORAL STRUCTURE tor persone busied el Examples: Igel Nonument, near Treves ‘Tomb of Juli, S. Remy Isewhere, 4 RAUSOLEUNOF HORAN ROME Plas ie atldings were constructed forthe royalty... + Plan is coniposed of many com Major oom rompopent othe poles ‘a MAIN PORTICO borgauc nals ¢TABUNIUM rene Room) = EPBiUsTYLEUM (a square garden with colonnedes eo sti oan = tae ee SS § AYMPLIANEUM & PoUNTAIS Sareea RCAHAMDERS FOR SLEEPING ana seevices® EB DEI “SR SURROUNDS avewaarund he buiting - {Original plan is SYMMETRICAL but addie, the NEEDS of he ne wore made acov sing to a HANG and therefore became UNSYMMIETRGAL + Moterints generally wel fr palaces ae MOSAIC for Noore JCMARDLE toc cohimns SFRESCOES for walls* Buldings are provided with a beiliant overall COLOR Examples: Palace of tmperore, Rome f Golden House of Nero, Rome Palate of Brocton ‘SCHEME, CENTRAL SPACE used for; + for meetings + as amarket + Arendesvows for political meetings Sripoles: FORUM OF TRAUAM - the Lageat ofall Roman foruma RU the eldest and most important, which, nde erent #8 Hippodrome and for contears ene layed ‘in the amphitheater ab 7 Thie leo served as the center fo other public hnuildings whieh included: TEMPLES SHOPS BASIIcN ‘ano est err) . i ~ -SOUNCH, HOUSE in a Roman municipality 2 Page 22Bar RENEE ‘Sculpture begun under the influence ofdugustay. Rome's admiration of ‘Hellenic culture and the Emperor Augustus apparent determination to base a cultural renewal of Rome on it Like a Greek sculpture, Roman sculpture appeared inthe free standing statues, the relief sculpture, in the portrait bust forms, 1. EegStanding.Statues : These statues and are images ft ewer A good samp of PSE cee The portrait of twho stands in the Imposing attitude of te imperator addressing i ti on thgcuicas or cucdereaaae is ermar are scenes nl reef restos te oe sasbicemen of Augustus reign the pictures of the Gods and the Goddesses wie anfered ther fevors upon hire. At his side i a cupid astride a dolphin, one ofthe symbols of Venus which allude to te divine origin ofthe julian family. 2, PortealtsBnst Ths areparianiteabordinaryetionss curved in a very realistic | manner. The portrait are distinctly individual since they showed their own é gs and they were ces dinatltiamys ond gine in crmeacanee Best examples are ataandeBansig, 3qrEquestianStatues,- These are Rome's ip This curved statues represen i . Later on, these equestrian statues * inspired the artist of the Renaissance age. A good example of equestrian statue is 4 Siclic€ Scwlptaits; This is best exemplified in the oluamal-Laui This spiral ‘frieze comitemoral victories in the two campaigns against the Dacian people of the lower Danube region. This monumental column uns erected ‘in Trajan forun by the senate and the Roman people. Sabiting is malnly dacagattzasat in Rome, As wall decorations, Roman frescoes Painting cotwsisted of architectural gyisiag, daadscana or welignaa ‘composition. In general, Roman: wail decoration continue to make: use of architectural divisions as a basis of its schemes. Roman printers, inspired by Greek painting, —aintadeoplamsases, enteonpe silly signaled the beginning of the Romanesque slyle | ieélanguler pilored hol with three alles, capable of enclosing o forge: unobsiticiedspace te PARTS.OER ASIICA (Biitinppensweccsss snounded yy oiches ainabrlound between thesia ald. the chucth, bssiqned toseaiieniy fa ro gotex onons tbs Dy chor steve of windowg P cned at ahead oc the nove i CBeemb decyl Nich convetted Ihe plan to 0 Latin Cross Chodrenciosed by ainmicennwgll und ovieted with sus maulory oF pil on either side Ga mbvlatoy. {or "7 5 perc the pi i 1 11 Gita ocolec akoak akihesonsegon! was ploced over Ihe burcl place of o Co aRRTIGEREIDY Jovemoctegerc1od 00 columns over the aor ye asines cree oF tomb of 0 c. = dilaige lomb, almost temple-tke 0, BAPTI = Used [or Ihe sacrament of bop CH ‘a. CENTRAL PLAN TYPE: i = cicular oF octagonal in shope 22 the dome is Ihe mos! important architeciwal feature FEATURES OF THE HAGIA SOPHIA grchilect Aelbemia! rakes (aves Miletus crow the plon Dome was 107 1.in diomeler, 180. bove the ground Under the dome, the pendeniive rest on heavy stone piers with leod instead of mortar between stones lo ighien the dome 4. specially mace bricks were imported from the island of Rhodes which ‘were 1/5 lighter ond porous 05 sponge 3, itwas Begun in $32 AD and took complete 6. interior was covered with ‘when the Turks conquered Byzantium in 1453, the interior wos while washed andCUNERAT CHARACTERISICS OF BYZANTINE ARCHITECTURE 1 a J which solved the problem of plocing a ‘dome over a square hose f tsreertogcananya one's ho! springs fom o cornet of the Ge coving ws foe he cer parson yes ; 2 Geckgonenticry abet ype Archesiled on top of ane GBAIDAD placed oe Ody actors the intemal angles of & tower of bose of drum fo convert Three fom into on oclagonal bose Jo support an aclaganal spice.cr Pyotr couse 3, The exterior is uncecorated, with slender towers called GinreBrwhich were developed by the Turks 10 inprove the effect 4, oli were constructed according fo the Roman methods of using hond-loid Tebble: concrete faced! wilh brick oF stone or sometimes plaster tine. ‘GLewind-blown ocanthus capita! bLbasket copial/ bid and basket copital cl-geometiic/cubicol capital ized leat + Byzantine Art With Constontinopole/Byzantium as the capitol, Byzantine Art was oc-a longer period than any subsequent contiolled by religion more tigdly and i Siyein Ihe history of Westein art, The church delermined the subjects ond proscribed the rules os 1o how they wars 0 be given visual expression. + Forly. Chistion Carving + used morble coffins oF sicuphaai 1 ditgpr Geren ond incr symbols of etemily were used os ‘decoration’ + later, corvings show complcx onungements of biblical scenes _Ropeesanlalion ot Chis the Vigin, ongets, prophets, oposles, evangelists, thax’ ime nh fm of motos Tors ponting, Book ilustrations, ores and enamels Storted when €mperor Leo Memoved the figure of Chiist from the gales of the imperial Palace ond replaced it with-b Gross as @ profes! inst the: literal art and church ‘worship of images. It led lo.the destruction of numerous works of ‘Simple crosses decorations especially the, ‘and symbolisms replaced if figures. TERROR fe Egyptian-Chistions and ore similer to the early Chiistians. sto SRE oration in stone carving led to the elimination of natural forms in Tavor of siyized patiems. Ait wos where reigious scenes are embroidered in a single roundel with decorated borders - the. BYZANTINE ARCHITECTURE INTRODUCTION BYZANTINE ARCHITECTURE combined the ARTISTRY of Gresce, STRUCTURAL ENGINEERING of Rome and the COLOR of the East. ROME: a. Use of monolithic colusins Structural principles in the distribution of weights and strains on isolated and massive points of supports. . Frescoe and mosaic decoration ASIATIC} 4. Use of biliant colors 3. Minute surace decoration on walls Damian Chaar of Breiner isthe DOME, This was wed TO COVER ‘A SQUARE OR A POLYCONAL PLAN GIVING also « VERTICAL COMPOSFTION ofthe Duiling erected during th period Je development ofthe PENDENTIVE: ‘The circular plan was incapable of meeting the functional requirements of the Christian church. ‘The Byzantine architect was able to build a CIRCULAR DOME over & SQUARE SPACE. The solution is found in the PENDENTIVE. ‘Since the square is more desirable than the circle aa a church shape, farther evelopment led to what is called a DOMED BASILICA. It ia a RECTANGULAR PLANE. COVERED BY A COMBINATION OF DOMES AND HALF DOMES, Exteriors were relatively plain but interiors were decorated making use ofthe natural colore ofthe materials, Column Capitals used the CLASSIC TYPES in the easly buildings. Doric tome. ‘CORINTHIAN COMPOSITE ‘This was transformed to square or CUBIFORM TYPES. a PAGE 1INFLUENCES A. GEOGRAPHICAL, “The new capital inaugurated in 330, is referred to as the NEW ROME, RVZANTIUM, CONSTANTINOPLE. Ite present name is ISTANBUL Turkey, It decane a CENTER OF GREAT COMMERCIAL ACTIVITY. ‘Strategically located to control Europe and Asia since the ROMAN COMMANDING POSITION with respect to the BLACK SEA and the (MEDITERRANEAN. ‘Teritories include the following: “Turkey syria + Yugoslavia © Asia Minor Prussia = Greece Balkans France 2. GEOLOGICAL Constantinople had NO GOOD BUILDING STONE & LOCAL MATERIALS such 33, CCLAY for bricks and RUBBLE for concrete were used. MARBLE was brought in from the islands & shores of the Mediterranean and Constantinople. c. CLIMATE ‘Roman methods of construction and archivecture adopted in Eastem Burope. The Fesult of thie is seen in the use of. = SMALL WINDOWS - ARCADES, (OPEN SPACES D. RELIGION AND POLITICS NEW CHURCHES WERE ERECTED after the Edict of Milan. WESTERN CHURCH where the seat isin ROM remained INDEPENDENT from secular rulers. EASTERN CHURCH entered into a UNION with the secular powers of ruler also nlled CEASARTO PAPISM. This main Justinian control and protect the church as part ofhis duties. ‘The Empire remained RESTLESS due to RELIGIOUS DISPUTES and HERESIES: + dutian in 261 introduced paganiam back to society + 11.980, the Heresy of Arianism was condemned and affirmed primacy of Rome + ‘The counel of Bphesius in 431 proclaimed Mary as the mother of God + ln 481, Jests was proclaimed as the Son of God.{In the WEST the only stabilizing force was the CHURCH inspite of BARBARIAN MIGRATIONS especially under Pope Leo I (The Grtal) {eo Il prohibited the USE OF HUMAN AND ANIMAL FORMS because this might cause the return of the people to PAGAN WORSHIP. Paintings and frescoes were therefore widely seen in the structures. SOCIAL Eastern way of lie and condition such as: CORRUPTION ‘TREACHERY IMMORALITY INTRIGUE ‘Weak rulers affected society and economay thereby hastening the fall of the Empire. ‘The OTTOMAN TURKS took advantage ofthis situation and ultimately captured Constantinople. HISTORICAL Final division of the Empire into two by Theodosius in 395 and he appointed his two sons to rule both seats of governments, Consisted of (3) major periods: + AD 324-~850....Constantine and Justinian AD 850 ~ 1200.....Macedonian and Commenian Dynasty + AD 1200 onwards... Last Empire |. ARCHITECTURAL CHARACTER ‘The Byzantium style is a FUSION OF THE DOMICAL CONSTRUCTION OF THE EAST WITH THE CLASSIC COLUMNAR STYLE. ‘tmaybe stated generally that the Basilican type of plan with TIMBER TRUSS belongs to the EARLY CHRISTIAN and the DOOMED CENTRALIZED PLAN to the ‘BYZANTINE, 1. PLANS, ‘The Domical Method of Construction governed the plan of Byzantine churches.Generally there were rwo types of plans: “FIRST GOLDEN AGE CROSS * SECOND GOLDEN AGE cRoss ‘or €RDSE1N-BQUARE PLAN (either square or polygonal Worm a Greek cross) with domed copia)(Churches distinguished by a central space covered ty a dome BASIC PLAN COMPONENTS of early churches are: APSE with CONASTASIS LATERAL CHAPELS 1 CENTRAL sPAci g GYNACEUM (Domed) h. wAprion=Ry & AnRrUM (Occasional) © MINARET © EXEDRA it i il RowTUNA NOW ab. Differences in plan between a BYZANTINE and an EARLY CHRISTIAN, ' ‘= Byzantine churches, unlike Farly Christian churches had NO CAMPANILE or BELLTOWER . Byzantine chusches, because of the grouping of eubsidiary domes around a fires a VERTICAL IMFRESSION forthe eye i gradually the central ing dome. The Early Christian2. wauis * Use of BRICKS, COLORED MARBLE and GLASS MOSAIC. Facade dominated by alternate layers and bands of stone and brick, *ZI0GZAC CHEVRON ‘HERRINGBONE —* MEANDER FRET asuss [iF co SE Ss = ual consiructed of BRICK &ntemaly encrusted with coled MARBLE and ‘Mining GLASS MOSAIC which swept rom wall fo ach and arch oval EXTERNALLY, walls were comparatively PLAIN and depended largely for effect ‘on the Oriental sunshine which clothed them with a garment of glowing color. |. OPENINGS ARCADES of semi-circular arches were employed in churches TO SUPPORT GALLERIES. Flat segmented and horseshoe arches also used in structures Windows, semi-circular headed are SMALL and grouped together and were placed at the BASE OF THE DOMES, cometimes in TIERS and serves as the source of light in the chiSS _ Doors were usually spanned by SEMI-CIRCULAR ARCHES, but fat and stilted arches were also used 4. ROOFS Dome Tynes: 1. HEMISPHERICAL Domes FLUID 1. SIMELE DOME ON PENDENTIVES - Pendentive & Dome were part of the ‘same ephere. austen 'HETHOOS OF Foreanc, PENOENTIVES 2. COMPOUND DOMES give greater height and was two (2) varieties @. CUT ON SIDES- the dome b, WITH DRUM - the dome was is not part ofthe same phere saized on high drum as picreed the pendentives but rises ‘with windows, Independently above them,1, MELON-SHAPED or III, ONION-SHAPE or FLUTTED DOME BULBOUS DOME, (refers tothe teatment [the Byzantine tyle ‘of the interior surface in Russia were given “ of the dome consists of ‘a bulbous onion shape {& were raised on tall ‘The Byzantine style in Russia has two (2) reagons for the shape of their domes: 4 TO THROW OFF SHOW b, TO GIVE A MORE ATTRACTIVE SILHOUETTE 5. COLUMNS AND CAPITALS ‘Columns were used constructively, but were always SUBORDINATE FEATURES generally introduced TO SUPPORT GALLERIES as massive piers and walls Supported to superstructure. Barly types used were CLASSIC FORMS. The CUBIFORM CAPITAL Inter took: shape. + CLASSIC FORMS * a a. [ ves aay Parcacn eROPOET OS. s SSALUNCA PAGES+ BASKETWEAVE CAPITAL * + BIRD CAPITAL * ‘Columns were of MARBLE and had MONOLITHIC SHAFTS and BRONZE ANNULETS were often provided under the capital or above the base TO PREVENT THEM from epliting Capitale: ROMAN JONIC, CORINTHIAN te COMPOSITE types were sometimes used but from + ‘hese was derived a NEW CUBIFORM TYPE, the (CUSHION CAPITAL with CONVEX SIDES over ‘which was usually placed a deep abacus or DOSSERET BLOCK, a new invention which ‘performed the function of enlargi ‘ofthe capital to support the: ‘ofan arch or thick wal ; 6. MOULDINGS. + Mouldings were litte used because of MARBLE&MOSAIC LINING ran continuously over the surface of walls and axches.% Internally, decorative panels of marble & mosaic were sometimes framed in BILLET MOULDINGS (formed by a sevies of circular cylinders, disposed altemately with notches in single or multiple rows) Externally, SIMPI ENT OF Ws - FLAT STONE BANDINGS flush ‘with the wall surface were used instead of string cornices and cornices, Different types: “BILLET MOULDING * ‘+ FLAT SPLAYED* + biscayne* 17. ORNAMENTATION It was ELABORATE in the extreme. [57S] or iatemalaate were tne with comly MARBLES with veining arenged to ; Ht TORI PATTERNS. FVRLS|| wase asus. unvem nats wr sheathed with OLASO MOSAIC Ce, manaaee s a + SYMBOLIC FIGURES :ROUP OF SAINTS. mae | Ee, immorality) “SACRED MONOGRAM OF CHRIST Glass mosaic extensively applied in the interiors, PAVEMENTS had POLYGON SHAPES (OPUS SECTILE) and ‘SQUARETESSERAES (OPUS ALEXANDRIUM}. Instead of sculptures, FRESCOE PAINTINGS and MOSAICS ware used. Frescoe painting Was substituted in the technique of the Byzantine. ‘The distinctive characteristic of Byzantine omament as compared withthe ‘Classicals thot the PATTERN IS INCISED rather than raised and was CUT IVTO THE SURFACE without breaking the general cutie, ducrienin PAGE 10m—rmeoe EARLY CHRISTIAN PERIOD A. GEOGRAPHICAL The TERRITORIES OF THE ROMAN EMPIRE js where the Structures of the early Christian were built, Modifications which suits the locality was done accordingly, the whole Roman Empire. Eerly Christian Architecture was by and was the LOGICAL OUTCOME of existing ROMAN AIT B. GEOLOGICAL tre RUINS of the Roman buildings served as the QUARRY from the materials obtained, Later, however, hal. was available to each territory was used and topic tothe D, HISTORICAL fi development of the Early Christian type of architecture was further speeded because of two events: The EDICT OF MILAN in 319 AD by Constantine i >. Emperor Diocletian's decision to move the capital of the ar epi from Rome to Byzantium resulting to ihe dito s of the Empire ~ West and Kast,ees ees ees. ees ae a oe EB. SOCIAL Before 312-AD, Christians who profess the faith HID 10 BE ABLE TeePRACTICE IT. Often they used homes for gxthering tor oe their rites, Tre converts were politically regarded as subversive because of their increasing number. They were persecuted often rd eye ‘accused Nero for the fire which ate Rome in 64 AD, Christians in the early part of this era were the poor and also considered the insignificant, F. POLITICAL TOME took control ofthe Westem portion. It faced attacks from barbarians which made it weak ald therclae could not function well BYZANTIUM controlled the |. It is strategically ; located thereby controlling Asia and Burope. it Tasted_1000 years G. RELIGION Christianity has inspi ing of some of the world’s greatest architectural monuments, The Purpose of the Christian Church was TO SHELTER WORSHIPPERS who meet for prayers and the mass aezauth of Christianity, received a’ fresh impetus under the Kadership of POPE GREGORY THE GREAT vie inieed the Christianization of England,H, ARCHITECTURAL CHARACTER EO} DI PMENT modifies. the Art that IT #0 adapt the Art of the past to express the outlook of the present. ‘Thus, in the architecture of one style is EVOLVED from that Preceding by a series of GRADUAL CHANGES, ( a.PLANS Followed the BASILICA model for their new churches, * LONG NAVE * with either SINGLE OR DOUBLE AISLES on either side * culminating at the ABE * iCusually has an ATRIUM [Forecourt] d b. WALLS According to Roman methods of using 'HAND-LAID concrete of BRICK or STONE. Sometimes faced with #1 LASTER. - ©. OPENINGS. ‘ ARCADES spanned by either SEMI-C) CULAR ARCH orDoors by a LINTEL WINDOWS Generally, ARCADES in nave rested directly on column capitals without intervening the entablature. @. ROOFS TIMBER ROOFS covered the central nave and only simple forms of onstruction such as king & queen post trusses were employed. Narrow side aisles were occasionally VAULTED; also with Hip roof. The APSE was usually DOMED end lined with beautiful glass mosaics which formed a fitting background to the sanctuary. e. COLUMNS Differ both in design and size as they were often taken from earlier Roman buildings which had either: 4 © fallen into ruin or * have been purposely destroyed f£ MOULDINGS ae & COARSE VARIATIONS of old Roman types and carvings is CRUDE for the technique of craftsman had gradually. ‘eclined.et & ORNAMENTATION ihe introduction of COLOR gave RICHNESS & GLIMMERING ‘mystery to interiors, BORMIS lined the domed apses but the method of execution was and no attempt was made at neatness of joint or regularity of bedding of the mosaic cube. Or mori TAVEMENTS formed of slices from old Roman porphyry ‘or marble columns, worked into designs by connecting bands of GEOMETRICAL INLAY. ‘The usual motifs in the decorative scheme are: + the CROSS [symbol of Christianity) * the EMBLEMS of the EVANGELISTS & SAINTS Christian Symbols painted or mosaic in interior walls such as. * Holy Spirit * Virgin Mary * Holy Trinity * Church & Christ * God * Virtue Meaning: Charity * Agnus Dei Hope “Jesus Faith 1. STRUCTURES & GENERAL CHARACTER creams, stuetures began to appear i) 313 AD, the year Gpristianity was legalized by the Edict of afitan, Pont this, Shristians met in private houses to do their ligious, activities, An ‘example of this is seen in the HOUSE CHUR: «i ©‘+ ENTRANCE * ASSEMBLY HALL [Sm x 13m] * CENTRAL COURT —_for 60 persons * VESTRY * STAIRS *RAISED PLATFORM * BAPTISTERY with BISHOP'S SEAT * CONFIRMATION HALL ‘Those NOT YET BAPTIZED called the CATACHUMENS were NOT ADMITTED INSIDE. When the Basilicas were already built they were allowed to stay in the Narthex area but only up to the Gospel portion of the ceremony. ‘The Classic Greck and Roman temples were not the basis of Early Christian Architecture. They believed that THE CHURCH WAS FOR THE PEOPLE OF GOD AND NOT FOR GOD. Because of this, they chose a building which CAN HOUSE PUBLIC GATHERINGS and this was found in the ROMAN BASILICA. ‘The MAJOR BUILDING TYPES during this period are: 1. EARLY CHRISTIAN BASILICA 3, BAPTISTERIES \ 2. MARTYRDOM 4. TOMBS ‘J, THE EARLY CHRISTIAN BASILICA * GENERAL CHARACTERISTICS 1, The Early Christian Basilica followed the ROMAN BASILICAN MODEL for reasons alrcady stated. No attempt to innovate because its main purpose is TO SHELTER THE WORSHIPPERS, 2. Barly structures believed to be resting on a PODIUM or PLATFORM which explains the flight of steps at the entry of the building. 3. Plan of Basilica is LONGITUDINAL, ITS lengt th generally twice its width and lics along the EAST-WEST AXIS. The ALTAR is on the EAST which points to Jerusalem and the MAIN ENTRY on the ‘WEST. 4. ALTAR given emphasis by the rhythmic rows of columns on both sides of the nave carrying the entablatures «semicircular arches ‘which in turn supports the timber trusses wt a are exposed. 5, THREE AISLE-TYPE common but there re also structures which had five aisles.©. Roof on Side Aisles LOWER than the roof of Nave to GIVE LIGHT TO THE CENTRAL PORTION of the building, 7. Architectural teaiments were avoided on the exterior ‘but not inside. &. MATERIALS used for the Early Basilica came from EXISTING TRING of the Roman Empire buildings. Later ‘however, they depended solely on WHAT IS LOCALLY AVAILABLE, 9 A basilican church was usually erected over the BURIAL PLACE OF A SAINT fin almost all cases, a MARTYR-SAINT] to whom the ‘and immediately over this place was usually located the HIGH ALTAR “MAJOR PARTS OF THE EARLY CHRISTIAN BASILICA ‘located at the WEST END of the building a COVERED PASSAGE around the atrium, 9. ENTRY TO THE PRIEST'S QUARTERS 4. NARTHEX........ 5. ATRIUM... od with an open central, Part called IMPLIVIUN used as a basin forabsolution, church-goers cleanse themselves before entering God's temple. TATIIUM LOOKING Ni. 6. NAVE,, central aisle and lighted by a CLERESTORY small windows] openings atop the side aisles; it is twice the width of space reserved separated by a screen from the body of the church, PASSAGES on both sides of the nave; 7. CANCELL, 8, SIDE AISLES... generally it is Y the width of the nave. 9. GYNACEUM. ‘@ space reserved FOR THE WOMEN 10. CHOIR... space for clergy in an ELEVATED ‘SANCTUARY. 1 1--TRIFORIUM.... +. @ PASSAGE ABOVE THE SIDE AISLES opening to the nave, BURIAL PLACE under the choir or altar [CONFESIO] elevated ALTAR PLATFORM 12. CRYPT. 13. BEMA,, 14, TRANSEPT..... crossing the nave. 15. SANCTUARY, space for PRINCIPAL ALTAR covered by aBALDACHINO [Ciborium), a canopy Supported by marble columns covering the altar, which is found on both @ RAISED PULPIT sides of ithe altar; one for the gospel reading, the other for epistle reading. ~-SEMI-CIRCULAR space at the cast end of the building; an enclosing wall of the sanctuary.OVER THE BURIAL PLACE i ‘or martyr to whom the church is dedicated MESA... .- an altar table TABERNACLE. .. Teceptacle for consecrated elements, CATHEDRA. a bishop's chair 19. SIDE ALYAR.........also called DRACONIUM 20, PROTHESIS.. ‘8 MINOR ALTAR usually located on the north- aide. 1.8. CLEMENTE, Rome (1084 -- 1108) ~ Plan was the MOST TYPICAL OF EARLY CHRISTIAN STYLE.~ Erected over the site of St. Peter’s martyrdom. ~ Constantine ordered it's construction. 3.8, PAOLO FOURI LE MURA, Romea - The LARGEST and the MOST IMPRESSIVE of all basilican churches. 4, 8. MARIA MAGGIORE, Rome ~The only church with pagan origin. - The MOST BEAUTIFUL INTERIOR of three-aisled churches, 5. 8. LORENZO FOURI LE MURA, Rome = The product of two churches with their apses-placed back to back. 6. 8. APOLINAIRE IN CLASSE, Ravenna ~ Atrium was omitted, - Byzantine columns were used.® a oe. wm € 7. 8. AGNES FUORI LE MURA, Rome + Aisles were two-storeys ~ Apse located on the western end and flanked ° by acampanile, ~ EXTEROR FRO Sw 8. TORCELLO CATHEDRAL ~ Campanille and baplistery form the group together with the church. 9. CHURCH OF THE NATIVITY, Bethlehem + Founded CHRIST, * Gurounded by a high wall which encloses the precincts of Latin, Greek and Armenian owners. 10. CHURCH OF THE HOLY SEPULCHRE, Jeruselem + Erected by Constantine 4 ~ Entrance leads to the transept, to the left of heron the rotunda Uith the Holy Sepulchre while on the right ie the Church of the Crusades, ‘ty Constantine over the TRADITIONAL BIRTHPLACE OF 11-8: JOHN OF THE STUDION, Constantinople ~ aached to a monastery was the OLDEST EXISTING CHURCH OF BASILICAN TYPE erected by Constantine in tre city. * THE MARTYRDOM 7 ltis similar to a MAUSOLEUM bui ~The plan is generally CIRCULAR, \ lt for the Emperor,ROMANESQUE PERIOD (CAROLINGAN ARCHITECTURE [800.900] The Mediterrancan civilizations were not the only center of activity GARE the Medieval Ages. North of the Alps ~ the northern boundaries o¢ the Empire also existed which compricos Germany, France, asd ope ~ Bats of Italy. They did not have a permanent scat of government sh fahailemagne moved from one place to another as the allairs of the sence required. Sea eived the pump and mith the help of his father they, ‘able to recover territories taken over by the Lombards. This made im tule the West effectively and in 800 was crowned Enneree by the nobe establishing a relationship between the clergy and the laren Wee Napoleon's coming in 1802, the Empire did not last longer PP Charlemagne’s credit however, he imitated Constantine in making an Empire. He was able to duplicate if not equal this by: 3; the religious conversations of the Saxons by force; : 3. invite craftsmen and intellectuals from Rome and Byzanti 3. collected and copied Roman literature. J Megeetted to a mix of CELTIC [trish, Scots & English] - Germanie and Mediterranean culture. a OTTONIAN ARCHITECTURE [950-1050] Constant Moslém att the east and the Vik Cojmany lead all Buropean nations both politically artistic together ‘with France and north Italy. Carolingan traditions. 3 adopted but later a ea. 9 gee 5 g g 2 5 EB 5 ea a. @. developed new and original architectural works. Carolingan traditions Tees ppted but later developed new and original architectural works ‘After the Carolingan era, the CHURCH with ull its power and wealth EXCAME CORRUPT AND DISORGANIZED. Monastic. reforms ott initiated by the religious orders which actually started in France bat Sa Ta puith Ottonian approval. This retumed the cordial relations betwee the PObaY and the Leymen It made Otto I in 962 a Roman empeve te the Pope as consequences of this, Influence of the Kast and South came with the marriage of Otto I with the widow of a Lombard king and Otto I'with a Byzantine pom, InrLuence: ‘The teria “ROMANESQUE” includes those phases of EUROPEAN ARCHITECTURE which were BASED ON ROMAN ART Wo nay i a when the GOTHIC STYLE combining the ~ * POINTED ARCH * FLYING BUTTRESS: * RIBBED VAULT * TRACERIED WINDOW were generally adopted. pas has been called RIP VAN WINKLE PRRIOD of EUROPEAN ARCAUTECTURE imagine the remains of an ancient civilization n9 longer protected and regulated by Roman law and power -— multitude cf most arene ay Some still intact, othera were damoged or partially unused, ‘most were unused and all were UNGUARDED or NEUTBCTED], seep next We see Europe like a.man rising from a sg sleep he stumbles By ng,geasures scattered around him and finds hil teclf SURROUN SS CORO AGHISVEMENTS OF A PROUD PAST sad as fe beeen CONSCIOUS OF HIS OWN NEEDS hic realizes the povebinde a Pre rts by & GRADUAL DISCOVERY and UNDEMSIANDING toe te He eS OF THESE FRAGMENTS, did he succeed in udaptioe chor to hls own needs and thus was a NEW ART FOUNDED OW ‘THE OLD,a - «#, TALL CLIMATE of the NORTH resulted in HIGH PITCHED ROOF and LARGE WINDOWS. The HOT SUN caused ROOFS TO BE Low PITCHED, WINDOWS are SMALL and ARCADING is present. D. HISTORICAL Granite attacks from invaders which led migrations and confusion by the OTTONIANS and CAROLINGANS, Rome was oui! looked up to both Political and spiritual needs, E. SOCIAL Mig, ioeial and political organization of sence in which this was a MILITARY & AGRICULTURAL ARRANGEMENS: Pineal pulldings was dominanti) of CASTLES & AGRICULTURAL, VILLAGES. Fortified casties and towns were made by the ar [endltions of the people unsettled and therefore CRAFTSMANSHIP was at‘The FEUDAL SYSTEM made LANDLORDS POWERFUL. They even ignored the kings, Laborers who till the soil in turn construct walls and towns to protect the landlord's properties and from other communities, F.RELIGION CHRISTIANITY, now the chief source of EDUCATION and CULTURE, Was gradually spreading throughout northern Europe and the CONSTRUCTION OF A CHURCH often resulted in the FOUNDATION OF AcITy, CHARLEMAGNE - was crowned ire by Pope Leo Ill in 800 and ended the attempts of the Byzantine emperors t control the church, To the schools attached to the MONASTERIES came the BEST MIND - MOST IMAGINATIVE PERSONALITIES of the cra. Monks and their upile were often the DESIGNERS OF THE CATHEDRALS and up to the 13" century, ARCHITECTURE was regarded as a SACRED SCIENCE, ‘Among the most important of the MONASTIC ORDERS were the - * BENEDICTINE * * AUGUSTINIAN * responsible for much of the architectural activity in England during this period, MONASTIC COMMUNITIES were also developed when the CHURCH BECAME RICH. People [some blindly] followed the chureh becatuse of its Promise of salvation. LAXITY of the CLERGY became evident and teforms were in order. The BENEDICTINES and the CISTERIANS led this movement. The CLUNAICS followed suit -— stressed on intellectual Pursuits and the development of music and the arts, CONFLICT arised between the FEUDAL LORD and the POPES not on issues of injustice but over the question of WHO IS MORE SUPREME. It was a fight between the WORLDLY and the SPIRITUAL POWERS. G. POLITICAL CAME, Served as a unifying force during this time. Urban Il called for CRUSADE in 1095 and this further brought contact between tne Woon ang ane Bast. Kings appointed bishops, abbots and. lergy in government Pees, Somme of them abused. Pope Gregory « cected this practice Which was ‘not liked by the church. A direct. tect of thie fence investiture contest between King Henry IV and Po) Gregory VIL. It wonpay tinder Pope Innocent I when Rome emerged both as © spiritual and Political power. : 4H, ARCHITECTURAL CHARACTER There were approximately 10,000 churches of Romanesque types built ‘They hed a common features: 1, BAY SYSTEM 4. MASSIVE WALLS 2. CROSS-GROINED VAULT S.TOWERS ATTACHED INTO. 8. SEMI-CIRCULAR ARCHES THE WAIN BUILDING But regional dilferences is often times reflected because of CULTURAL DIVERSITY. he general architectural character of the Romanesque is SOBER and Dia , and often PI because of the GROUPING OF ‘TOWERS and the PROJECTION OF TRANSEPIS dng CHOIRS, Fatemally, special attention was given to the WEST FRONT whose main ‘CHED, RECESSED DOORWAYS o:mamcnc? byWrigpalse, in Romanesque churches that we find ROSE or WHEEL WINDOWS over the principal doorway of the weat front PLANS: ROMAN BASILICA served as models. BAY SYSTEM used in plan, ‘Two features were made: a. ADDITION OF THE TRANSEPT >. PROLONGATION OF THE CHANCEL OR CHOIRUl ee ee made the church a welldefined CROSS.IN-PLAN. ‘Transepts were generally the same width as the nave, which was usually twice the width ofthe aisles. There are four [4] prominent features of most Romanesque churches, namely: ' 1. TOWERS: 9, OCTAGONAL, 2. SQUARE, 4. CIRCULAR APSE SHAPES differ for eyery country: * ITALIAN * SANCTUARY and TRANSEPT were well-defined producing the cross plan. CHOIR raised on piers above crypt. TRIFORIUM GALLERY generally incorporated in the building. . CAMPANILE seen on the Rast or West and crossing the naveand the transept. Its plan is eithe FO STOREYS: decagon plan and circular in the upper portion uilding encloses a CRUC! cRypr. ~ Extraordinary roof is formed of a SINGL weighing 470 fons. Stone handles were provided for hoisting into present pmition}. DEVELOPMENT OF ROMANESQUE VAULTING: Misues es, which was oc was 70 VAULT THE expe AISLES whi comparatively near the 3 ground, could be GUNURD eaigt! walls easly buucooar oad be | + OUTWARD THRUST. 7 * *GROINED VAULT — fhe arcades separating the nave and aise ‘was the same as the width of the aisles. Sauls be opened out to the nave with and was called a TRIFORIUM G, ue. Sernin, Toulouse). “QUADRIPARTITE [¢-part] VAULTING, ‘ype of vaulting with a transverse al and diagonal sh" fe. S. Michele & 8, Ambrogio in Nopth aly * SEXPARTITS: (6-part] VAULTING: ¢ach nave vaisiting compartment had two smaiier arches at the cide clerestory walls,* WALLS: i Massive walls were of RUBBLE, faced with ATTACHED COLUMNS with rou igh capitals supporting semicircular Rene formed wall archding when Was frequent devorative feature methods were applied. squared stone, SORBEL TABLES seen on galleries and fagade wallsg FEAT BUTTRESS selicye Wall from the thrust of test. Wall also pierced by windows which givee light to Pirhertey of x SUMING BUTRESSES which wag iden onthe aisles was later made obvious:because of the need foe the side aisles for peoples* OPENINGS: ARCADES consisted of i ers which Supported semi-circular arches. eee teint WINDOW OPENINGS are very characteristic with JAMBS or sides formed in a as known QRDERS in which are set circular shafts surmounted by a CONTINOUS ABACUS, ent. susiaae Poors and windows were SPLAYED. This could either be plain or Was treated in any of the following manner: * FLAT SPLAYING * * COLUMN BASE * {statues instead of columns also used]a a a Regine moulded planes developed out of this. Windows with ‘combination ARCH FORMS, The general employment of VAULTING in the 11% century was Probably duc to the DESIRE TO FIREPROOF THE BUGEIAG, The form of the arch employed in vaulting waa ‘SEMLCIRCULAR often raised or stilted, the nave in some churches. Yur the crossing of the nave and the transepts waa crowned bya Rams, four of its sides were carried by a SQUINGY ARCH, Romanesque architecture began to use FLYING*coLumns; . In ITALY, the traditional MONOLITHIC COLUMN, often of Roman Origin was still in use, but in FRANCE and ENGLAND the COLUMNS were. generally CYLINDRICAL and of MASSIVE PROPORTIONS, built up with ashlar masonry and having a rubble core. i Shafts with flutings * VERTICAL © * SPIRAL * TRELLIS with carved ornaments RIB VAULTING continues up to the column surface, CLUSTERED COLUMNS more evident in interiors.* Omaments were treated conventionally. Carving and Sculpture were often ROUGH, Thietntetiors, FRESCOES were more usual than mosaic work Gish had been the principal decorative element of the Early Christian churches. . » STAINED GLASS was as yet little used had already been invented, Miich was to become a major decorative clement of Genes churches, * MOULDINGS: Often ELABORATE. ig ABACUS of the CAPITAL was distinctive in form, it was BIGHER but PROJECTED LESS than in the Classical columne at ‘was moulded with ALTERNATE FILLETS & HOLLOWS, Mouldings at base of golumns project from a SQUARE PLINTH. TWIN CAPITALS adhe “CARVING: ENCE ‘SSERNIN TOULOUSE,on rs ASESOI i The period was a time of, wilh new modes of expression, Ingre «ware many slyles distinct yet related, The designs inlluenced by Byzantine ar eee quan, cerceplons of Roman Architeciure adapled fo present nets ‘rd ore refleétedkin in inal were consliucled during this peed, Romanesque 3 tomy of siiss of the IHih and ain, ih Ween u-gpe, | was known os Romanesque Be hurch as Ihe uF Bellod was devoted lo Ineglorlication of Chistian! © Achitectye: 1. the 1 Pcreulor mental. ct seshoe arch “A\ fislthe orches were nol recessed, the eciges were square in section ena net moulded or ornamented 2 chevron pamieccs Besnges- tonque-tke Sirs cabie stor 3. Capit ‘Cushion 0) Scalloped 4 Byer hong the wols for canice of the top othe wick are decorativel =en005 ainage purposes ond were suppsited by a3) th sin fan stood upon Cobos hse ¢ Corbel & called the CORBEL TARE mapht be Bull obove this ond lined with lead, These walls were pierced fo let the water out, These speuls were fhkecl al intervals and Generally sel info sione blocks which were coved into These were fashioned ike desl, onimak birds. monsien. eles $. Ribbed Vout é-Dooaways Were ‘ater, decorated and the space be! le doorhead and the inner arch was filled by @ stone slab called ¢CTYMPANUM Which octed as the focal point of the ornament 2e FORMS OF ROMANESQUE AND NORMAN ARCHITECTURE 1 wih ecu neh a ‘Ground Floor Arcade - nave, choir and transept. dees: 2 mee SE ya nacre ‘2. GHONASTERIES> eae ee Sor Ley 1, fifirmary [Mose sas STF Called os o keep, stood on hills mainly tor @etenss> FORTRESS yyem _ 2. = wo. "THE MIDDLE AGES. é . ‘a + INTERIORS Becouse of the cullwral backwardness of Roma's barbarian conqueros, Romanesque furilure was crude ond was reduced 10 simple tequiemecis, Dee GI-GRE HIGEA grid gross carvings of humon fi and ahh wos provided by (I) sputledng EURNITURE Gok Chavet olten hollowed oul of tree twnks and were oneted with ton. they were used for sloraga of inen and silver. Seols, Weslle eee Benche: were akausod + AccEssonies "TEETEDE TEPER eateéer- G31 HOD on o tp ten than 16 Inches wide ond 230 lest iong and uivallyTalsc slon/oRkiunea! vents. 2. SeanOscmricusTeaTiom, * : ‘SOTHISL. vy fog + runwlrune GENERAL CHARACTERISTICS OF ‘GOTHIC FURNITURE 1. woe anehiiactual 2. wih-aredo dei 3. lealured architect mots such as J reorches s Sieeeie rts: Sider lote corving tBiereed coieing Tt {chests ond seating pieces feclurec paneled consluetio 5: chests were used fey both slevage ond sealing & lumiture was eitheffery, vory hegwy avery very MaAT]GOTHIC STYLE Life inthe Gothic Period was rigid. Bishop kings queens and men of noble birth lived invcastles supported by the labor of their serfs. These serfs were obliged to render to their lords the fruits of their three days labor out of seven. The castle was the pivat of life. serving as stronghold and fortress. Castles gradually expanded into palaces and then into towns, which became trading centers. Town life began to flourish politically and economically through fairs and markets. The feudal system died out and the mercantile middle class assumed importance. The business and spiritual affairs of the Church were Controlled by bishops who with their enormous power and wealth, made possible the building of great cathedrals, The dwellings of the period were rel remained to be the typical features rely unimportant but however ,the following © They had pointed arches over doorways and deeply recessed windows, Walls and panelings of the interiors were usually painted in colors. Ceilings were high and huge fireplaces had funnel shaped hoods that ‘extended through the ceilings | Floors were generally packed dirt strewn with rushes or straw, oF occasionally covered with small oriental rugs. The most important room in the house was the great hall, where meals and entertainment took place. Gothic Furniture At this time the requirements of people were very modest. The wealthy stil traveled from castle to castle, taking most of their furniture with them, except pieces too large to move. The few picces of furniture that have survived were from ‘the monasteries or castles. The poor had litle furniture or very crude pieces, such, as three-legged stools. Characteristics: ‘© Itwas architectural in form, with crude detailing. - ™ It featured architectural motifs, such as arches, tracery, trefoil, quatéfoil, linenfold carving, and pierced carving | Chests and seating pieces featured panel construction Chests were used for both storage and seating. ‘Types Chests and Tables chest was the most important, it was used for storage and i the top was flat, it was also used as a table, seat and or bed.Tables were usually of the pedestal type, but draw tables were made for the first time in this period. Seating Pieces ‘Stab-ended stool - stool with thick wooden ends Curule stool- a version of a Roman X stool, Beds and Storage Pieces ‘Beds draped with curtains which were drawn at night. ‘Beds and board a symbol of married life originated in this period. ‘The board was a trestle table flanked by benches and stools, Presses were used for clothing. Livery cupboards designed to store food. 8 at witty Cig| ¥ ‘Aosio Secon ised tbe hall uth fRotthelnef andere hearth etGiese ie ry 1 TEL AY api hacery pafteoe aaa ¥ sd ra pie Ay ia aa rEok Brew cept eval nr ala 0b 5a Dake pewter § Cah oie Pega) be Valin og = eho, Ue > ~~ esig 8 Line vibe ~ Slike pattern hen Fre vat meet F Ob ster of Colowre fier) Pf te us — Arpt cathedral ~ deb Atnn — = coal Leect BY ‘ eos Bl © pepe lar tee arr (Pas.{ a7 -— Meee ie Gulic slyly ania 1d the orb Weslean Lurope thant the 121 1th Ct wus deuned baibaic alihaugh there is no relolion, and wos generclly colledc EenehWoAtich ison incication of Is origin. Il focused om ee a A. EARLY ENGLISH i > made wse of the plain, quadiipallle dsbed vault, slonder lower with Spires ond butlesses B, DECORATED = ad lage, widow openings conlaining tich cold glass {STAINED GLASS) and complex stone lracery = anal, vnes of acesy jeveloped Mo, v Geena Incorporates mols bosed upon the sicla and iis 2 Caer ‘owe Scns of come pals ‘othe = made use of bor hacery 2 i -oma © coxnplex design foling ilo two types 1. eerlon 2. ome Hos - does not exten tom par to rkge bul runs in ony. ‘ection, rf pattems % CARERPENOICUAD = Indicates an exercise in vertical ines bul ako gives emphesis to the eR, seamen 07 SIBANSOMS into ponels, the proportions of the windows are ond Pte nasal ners “ "if soci oo et yo ts, ot ter int Steir, oy ed o> Reet rl Saha ote dno, sete CUMS Weft that cn ees EN RAC GOTHIC ARCHITECTURE ‘mote exible than the round exch H 2. Sibbed vauling gave way to, 3 thin pointed vaulissuppoted by slender columns, ‘aap es aches up over the side disles 1o.pravide gunna at aa ciug iting posses oh en etal tee propel = loperingdeminatian.of 1 towerin Gothic or Renaissance lecture, which wos the resuil of elongating an orcnary pyramidal 1, > Nangulacpadionote.wlr between the enclosing ines of a ping root 8 were used instead of columns 9. feme: stdin neeeee ee SOTRIC ARCHITECTURE 4. GEOGRAPHICAL Re Gothic syle oviginated in France and unt the beginning of the 138 aaa rel intuences wes parioun, tas co was persernily . ‘ulopted by WESTERN EUROPE bet are ‘ot influence the architecture of Scandinavia and the countcies of Bastern Buren B. GEOLOGICAl dike saath a Baope that they contributed a definite Inftacsice in ‘ ‘Uifercntiaing the styles according (come STONE was th privcipal building material, Le, + England 2 Fine Timtscr ' + Italy “Maths in seb tipca/ tamed anal + Holland & Germany tricks i ©. RELIGIOUS cree oeitg, 2m he eotDlliment ofthe FRUAR OF Der ad oie churches were designed FOR PREACHING, * TP SI SCANS: modicants or GXAY PRIARS we founded Peet ans OF Assit, ved the seligious innocent is time and sovolutionized hie CNICANS. + Dow ‘Preaching of BIACK FRIARS were foumted ‘The CRUSADES pave rise to; S POINTED ARCH 8. FORTIFICATION OF ¢ stung co ad paint, People sar the erection of many GRatm) CATUBORALS, especialy rete the work ofthe iity in contenas wt fod. 4 ead oudet in the CULT of Special Saints in «sore ‘wonght fume to cestain shrine with nt Localities asd this @ ACQUIRED WEALTH 6, nBcaMe proRneAGE cENTeRy ‘WHsh is releted in ther beat architecture and decorate {in Frince, CATIIEDRALS had numerous CHAPELS ‘he veneration ofthe salts, thor ag Ene Homage to ie Vigin Mary tu to the bu "8 of LADY CHAPELS,a "ATION OF THE EASTER BND or LATERAL ADDON D. SOCIAL ‘A NEW EROPE was gradu: “BY coming into beginning which was the result ofthe ‘Gradual decay of ie Feudal Systm Banca eresed v0 TRADE ROUTES became suited. commerce, Benefits of this Pogmested mure and more deeply into the countryside. ‘Wealthy and cities and ‘These tremendous changes are reeciod Ge age ‘SECULAR BUILDINGS ofthe eiod: whose lofty heights were Creating of & new sense of municipal oak e UnveRsrriss 4 Which were similar in facilities to ‘monastic establishments, a, MANOR 1 B ARCHITECTURAL DEVELOPMENT. Uy cone sgn in FRANCE etc twas calle th “STYLE OGIVALE" and is Suger onaldered to have begun withthe AMD ee Denis built by the Abbot Suger for Louis Vit. ff the Period Arch ‘gradually in the 124 Century ine 98 @ BASIC STRUCTURAL ELEMENT, INTERSECTIONS OF THE FAMILY sista £0We th troublesome probies org AMBULATORY VAULT. WEST MINISTER ABBEY SecrIn«ninovon vee wave aT AMess ihe dogtom shows the men pene features ef Gate cuca”TEEPNESS 2 A thi locaon enable the butders to have VARYING 'SS OF THE ARCH ta bring all the ‘samme height, irespr retive uf their width, Thue buttress, made large is 157 8 fo jut the 130 tersecting yaulis to the Siving 3 Important reason, ult ating problem by alouing. @ vault tobe freedom to plans ‘enough TO RECEIVE AND ‘height dlisenato from the ‘century to reach its 1m the pavement,107" ‘sastauuep lass + note slament ite growing sil of he workers during hs perio Jp nudamentaly, a window composed of hundreds ‘of COLORED GLass ‘eld together by exible lad eripa ta Non Riser ‘eagle, ROSE WOUOW:S UN TaLeN finned gat ae eat ARMATURES< could be but nto the tone and the MEDALHON Wiggs Nm By wring where neceseay ee MEDALLION WINDOW was develope TRACERY ;' iy docs ERAGE NAVE BAY wa almost 20 9. ud eine tan ‘There are 8 kinds of TRACERIED WINDOWS: © PAT: PeACERYS tetas tote Poles of various sizes in a SOLID PLATOR ee ne, JPanervadtt 1 PATE RS of the POINTED ARCHES Ci TRACERE: thin a combination rand CIRCLES, cron zniuanly constructed ag a skeleton teres ic ot Diagonal and Transverse Ribs ate ae Cit c ae TIBRC an intermediate upri new HDs inserted between te transys diagonal ibs to GIVE ADDITIONAT SUPPORT To THE PANELS, RIDGE RIBS were introduced to RESIST THE THRUST OF THE OPPOSING TIRCERONS and ke them in position‘ii, WALL RIBS oR. ENCLOSING THE LATERAL WALL SPACE ofthe vaulting compartment 2, STPLLAR VauLTING: ‘ERNE RIBS [, LIEN « de or bond mtr apoio Anvis Una cemented doce ot sit Gm the spring tine ofthe vayulting compartment, Wau, MARY REDCLIFFE. BRISTOL we number of ribs: TRANSVERSE DiacoNa! TIERCER ns RIDGE LERN Ju oo4a 4 Dergaaed the sve ofthe panels they supported that at this ‘he rib tor was Requenty spanned by Cnet STONE, Carved BOSSES [t., BOSSE = jump £3 Knoblor KEYSTONES was introdued to Betag agine AWIGWARDNES MITERS made ter AE ‘meeting of moulded ribs Rope RE vaults of thin peciod an extremely. ORNAMENTAL & WEB-LIKE “APPEARANCE, time the space fom 8. FAN AND PENDANT VAULTING The 15M century saw th introduction of FAN [also mown as ¥ ‘in which the rising ribe ae at aual angles on inverted concaressn es AVAL PE} snggcnepcton or design of the now project ‘Was the province of inchtoceh aes Seon ra unsalle taseag eo lscchitcta] inthe wots ee @ churc# DROVAL HOUSE 6 crc AUTHORITY amen ASTER MASON acquired varying degrees of renown, the reaOre the recogaton of thes proses ee peel Soncentrated on this function aid dre of subordinates- come echme very famous indeed, their areas ‘widely sought by great Eontrollgd fon it they proceeded from ane seojet Controlled several wa done ninety gatead the masters of tes ms tive erate ecame ASSOC eesPed ino GUIEDS Of robuns, ut being ASSOCIATIONS concerned:‘* TO UPHOLD THE STATUS AND WELL BEING OF ‘THE CRAFTS ». TO NOURISH CRAFT SECRETS 5 © TO ASSURE THE INTEGRITY OF THE AND QUALITY OF THE WORK PRODUCED it RETURK FOR A FAIR PRICE. RIVE OF SOME OF IIE LEADING EUROPEAN ARCHITECT: ‘CRAFTSMEN ARE! ARNOLFO DI CAMBIO of Italy VILLARD DE HONNECOURT of France : HEMRY YEVELE of England, HUGH HERLAND of Ragland DRAWS eeeas ch rowimbled thoes of today but comprehensive WORKING DRAWINGS for an entire echeme were not made, ‘The following their guilds: ‘etulpmente were treasures possessions of building craftsmen and Tenptares PATTERKS DIAGRAMS OTHER VEvICES POR sernNG our 4H, ARCHITECTURAL CHARACTER Eemiigaagtion uaiy oc coi rcitectre a The (GINTRD ARCH ogee with BUTTRESS and he ay PINIRCEES vest tne oe : le the aspiring tendency whieh has beencegarde or the period. ‘The staBucy G4 Gothic Cathedral depenida upon the PROPER ADJUSTMENT OF THRUST AND COUNTER THRUST. ‘This structural contrivance oftranamitting the accumulated ‘pressures to the ground is knbwn as FLYING, Pas WALLS wor thus meray required Rese iu) amd pee principally ‘of glass windaws with ILLIONS & TRACIRERI HEADS, raotmseanfureatrctte and inthe beef vals wae express thes hancdan aa to SUPPORT THEGROEHR pa Pars |} Although mast ofthe forms were founded primarily in structural | Bécesaity olhera were the expression of rustic invention’ Ghar the SPIRE fullled NO STRUCTURAL REQUIREMENTS hecst Served a5 0 SYMBOL and formed an outward and invisine {Pression ofthe religious aspirations ofthe time and directed the thoughts of men heavenvward CATHEDRALS ‘The term [Greek werd: seat or throne] was applied to the EPISCOPAL (CHURCH OF THE DIOCESE ‘They were the history books of the period when few people could read. sand became a MEDIUM OF EDUCATION Chuitch plans were generally CRUCIFORM, a Latin cross of which the hoy arms form th Worth a id South Transepts,uh ro D4RMCS Cane CHOIR or SANCTURY which is the Mest soar cte ileum is the CLERESTORY, a range of windows stretching from one pier to pier TO LIGHT THE NAVE ICH GOTHIC ‘(altho great Gothic chur hea of FRANCE hate certain things ia ‘common: i A OREATLOVE OF HECHT i. LOVE FOR LARGE WINDOWS ALMOST ONIVERSAL USE OF MONUMENTAL Was PROMS Win Twi TOWERS. i. GREAT DOORS BETWEEN AND BELOW THEM sun charscterized by a spit of STRUCURAL CLARITY an attempt to use a Conte mattis an allow to all ofthe otretaral se controlling elementa in the actual visual impeeees ot ERTS Shacteleziae of ‘he EXTERIOR of the French gothic _ EXTRAORDINARY INT isthe PPGKATION OF SCULPTURE & ARCHITECTURE. ‘The following are v-ualy ranged on either side of the doors: 1. FIGURES OF saints, 2. (GURES OF VICES AND VIRTUES 3. SIMILAR RELIGIOUS suBJECTSPog MME te Cote we in Pace may ede ne tes periods *% ERIMOORE or GOTROUE A 1 ANCETTEg.? Watter hf ofthe 12% Centun} ‘ apne? thi period are al omen tentative n Fe et BO ROUND 8 SORES ARCHES axe a rei a Dou asa ee _ b. SECOWDAIRE or RAYONNANT PER;OD 113" Century) BAR TERE the 24 gunterof the 198 Century that } fora, SACHPY bread opersede te eae Fea eheh architects had discover the Bice and Imo: ant oF NeW form of tosigs tye an ADE oare nen in all of ther churcieg see istigur TRAC HegTe Yea the same tine nag GEOMETRICAL, TRAC CRY of such Cathedrals oeTERTAWE-OR FLAMBOYANT PERIOD, [14*. 158 and part ofthe 16" century} Fepineh architecture, the 14% century in France was a PERIOD OF REST, TABISBOYANT Work eceivea ita name from the FLAME Pe SHAPES common in its window tracery. This tee of {ratery was undoubtedly borrowed from the cartes ENGTISH CURVILINEAR; the French gave it 4 vrauiry i FLUID CHARACTER of their own,ball rage Was an effort to seyicate deinitely STRUCTURAL DECORATIVE FEATURES. be oo Nees an asrvesGLOSSARY OF TERMS (MIDDLE AGES, GOTHIC, AND RENAISSANCE ) ‘Acaneulatory. An aiglegehing thealtaninashurchs Apron® ‘The sructurnl-partof.thetabie undemeath the top or of a . chair directly under the seat at right angles to the top or seat, - often ornamented. . SApsees ‘The egmuicincular termination of the church, usually the ‘chancel (where the altar is place ) Arcade, Adjoining agcheg with columns between as supports. Relacorw the Toes Pang Anrackeeishcs: 5 tome obs alg A. tymmetnd, Scadhlar conead mich {ie pie of merle 5 ces tHe cubated Goih [3 the devia isl it dar “anode seriea of beluterr 35 |r “nA A=-2 8A Pedi mente! Windows Franch Remiscwce 1 Maserd/e sac eae bm 9 on ‘Fe yh [ Log aepa oe XI the, tenn Ronobsunce meons(G@hida-b| Ihe art of classic aniquity that oveumred in Tlaly in ihe Iain C, though spread fo other counties and was most scecesstully adapted in Frence. In o brcad sense it includes the entire period up Ic ihe emergence of moder styles in architecture, sculpture ond painting. This iso Oppea’ os jhe period dunng which the arts Came info thei, own cn the personally of the individual arlst formerly submerged, developed for ari Unprecedented depth and voriely. During the Medieval period, Man was preoccupied with searching for jek sou it preparation for paradise Gnd ihere was suppression ol the joy of human emotions because of fome chuch doctines which caused contusion ‘and misery among the masses. However. during 1 @, man was Suddenly fled from restraints of Ihe medieval limes, tecognized, which was the effort of man to think. feel and act for himsell. ¢1he pleasure of uman existence wos realzed ond there were less Ihoughis of the spintual side of mon, ASTAUANLRENAISSANCE \ Geen? The works of Dante, Petrarch, and Boccacio in the 1sth C of the ptilosophies of aniiquilies which influenced the thoughts of the peopie made Iham reoize thot Ihe pagan ideo's of the Greeks and Romans were better ‘ofarized and that they were 0 fol happier than those of the middle ages. This Giscovery wos aided vaih the invention of printing, the scientiic ciscovery that the wesld was round, Ihe opening of irode foutes thus making possible the new ‘acquisilon of moledals and wealfh, the merchants orsing as the tuling closs, led man fo research of the ruins of the architectural masterpieces of the Greek and Romon Empires Renaissance architecture was largely inspired by the_rediscovery of. clossicél forms and principles. EXAMPLES OF FLORENTINE RENAISSANCE BUILDINGS: 7flippo Baunelieschi* . froditional consiruction methods and devis in history. The was sil buill_ using OI i construction, the }Ows direct classical borrowing Gs in the use of Corinthian orders, complete with pilasters ond enlablature, Dame is raised So. goumn with cecular windows. From the beginning Brunelleschi based his mastes, spaces and enclosing spaces/surtaces on simple propositional relationship of basic modules using paneling of while ond colored marbles to cary out i Yypically renaissance system of rectangular and circles, Result = af structure of simplicity and clarity of design.Hi uRWITURE? Lindemtmsapmamensory — cabo?” ake yotbnoil ‘2. THE[PHILADELPHIA LOWsOYS LF = chorociertzed ry plercad hacia = wilh fing, low eist ocanthus corving.oaihaknes. 3. THEBOSTON CHAIR/ ROCKER? 4.SibPER CHAIR C. POSILIAIE COLONIAL FEDERAL AMERICAMNEOCLASSIGC * the siyle is complalely clasical with races of antique Pompetan arid Greco-Roman. design coming twwough Chippendale, Adam Hepplewhite, Sheraton ond English Regency influence from England and Lovis XX, Drectoke ‘ond Empie inlluoncos Irom France, thal wos because aller he Revolullon and the Decioalion of independence. fel thot the new Republic shoud be represented by orchiiectural forns of democrolic Greece and Republican Ror the French Revolution brought an Influx of arstocrals who carried with Inem whal belongings they had bean able fo salvage. The influence of this French furniture importation was noliceable parliculery in he Southem Slates, ‘+ INTERIORS Less wood paneling lined the wolls but !he.dade-cad.comices.continusd Jobe inuse, Many rooms had only the KEapIEE® wall covered by woodwork. The ‘other walls were in plosier covered wilh either point or imported sik texilles or wallpaper. Great formalily and symmeliy were introduced. Elaborate deloted fin wos used for doors, Windows, mantles and erches. + FURNITURE : “During this period, sexnenline fronts orew In_populaily# Proportions becamedighl oad dalicale.A‘so, scot padiments.. =1, JDUNCAN PHYFE) 1 He wos on quistancing cabigetmoker of the Gin cenluiyend Inuenced by ise © FURNIURE Eprifcen7 My/emaee setted wf by GENERAL CHARACTERISTICS OF ~ f+ sewawenanae, | T ” vf webbed A9? 1 madotymmibagonyandsainwcnd [Lao / ntfs 3, delency olline od datall View 5. legs had pedestal suppers for tables with concave flared Ives" 5. Tories + was used a grect deal - 9. eontueopia™ags 10a" pales for chair backs and sometimes fable suppiods 11mg of furiiure were: al-rvogs bi-tosles cb rBrolios B-Fox0 tors BASIC TYPES OF PHYFE FURNITURE 1.DUNGAN PHYFETABLE = dropleat 2, WINDY nw = foro lady behid tha lace cutnins ota window, watching the Ne anece tomate 2 His interior woodwork was greally inlluenced by Sciam Do! England, _-Hepplewhile and Shesaissn— + FURNITURE GENERAL CHARACTERISTICS OF ‘MCINTIRE FURNITURE 1. Sihoutted hack < 2 Sudctansinicaes 3." Made use of swags: fits as molifs Bee ok-tbony vanear Se aisod BASIC TYPES OF McINTIRE3. HAMBERT HITCHCOCK? EARLY Emre] + FURNITURE GENERAL CHARACTERISTICS OF I TURNITURE ERIS or oval ued top ral? ‘SHraigftiinedt leon! lags ‘ Pagad3e- tower tion, iminishing. as it Sa ee ar anna) ies 75, 9 60 m der Foot te, Walls clay Baek ‘The’ thende serves to house Sud’ elcs, The sacending sections were Tce eect the pm terrace of the mythical world mourn Sioce sate eric go were nabued with potency and mysticism, the whole TANS ag etme gg-pistuat as the mystic mountain twas es Art merely eiyecting. The that sane up the cove of te pagoda DUNrepresents the r ch. And the many heavens of gods are syinbolized by the disks, and sometimes globes, spindled by the long thin spire standing on the pagoda’s roof Famouis Pagoda: the Porcelain Pagoda, built by the Ming Emperor Yung Lo in 1431 at Nanking. Octagonal in structive, ornamented with -color porcelain, ‘ball surrounding the root Chin ‘Combines beauty with function and design AiLoldignity- refinement ‘Well proportioned Unique feature ia the tot ls and dowelB> when dowele are present, it gencrally means that repair haa been dome Based entirely on mortise and tenon with limited Use of dovelailing and glue Basle types ra Chinese Yoke HACr- resembling the yake in the plow. i Eo han Chsib presence of « splat-in a semi circular back that coritinues as with equare seat; with straight lege forseshoe that simiata Laan bt snout apt “ene sa ~ chines: dey eri nw backs and arm rests i ci Ble: low table Bene ig "Sigh ccungisc aha served os ide ble olen paced ee accep abi ale 8imeoral-cining tables were almost always ‘liable for 10 people sine a importrtthateveryone should oe ae beanain dlaes with chopstens Gi "Tay BedPapium beds with pun and a canapy-of twos curtains, re Hed on th epost; pled with cushions nd pillows orfetal of origin ae known in the weet ag Coromandel sre Symbolca with wishes of eae wealth ‘Wood: rosewood (hua) fr fine furniture; sandakuood (t2u-tan) favorite wood beenuse ite beauty increnoes with ngs: Bbony (tm) - for inlay, Tek = for more ordinary ale nite and never used traditionally in eabtet malcings Camphorwood for wardrobes and other containere Chinose Painting iosely related to writing orGaligraaliD Developa a senge of proportion and eompositign ses silk or paper Has 3 principal formats: setical bangiog_scoll - suspended on the walla hopizontal land scall~ infos a continuous series of tages viewed Gon TN ole and he al bun leat~ ape sre, rnd or fan shaped fd frame on sie ‘Japanese ‘Aaulea Period (548 - 645) Saw Guddhism taking root in Japan, with the arrival of monks and artists from China and Korea ‘The Buddhist priest Prince Shotoleu Teihi, cultivated art and learning through the building of Buddhist temples Sculpture in wood and bronze were developed Hark Period (645 - 793}Chinese cultural and antsticitvence prevailed The enpial at Nara followed the pterh, ant ety ofplaning of Chang’ Dslant Pangan eats, bit according to the wid pattern scene Numerous art objects were imported from chine ‘The dapanese ars of lacquer ware and mask were encourage Heian Period (7094 - 1104) Fastidionaly snd highly refined onibity, capecay in the couriy circles Controlled by the powerful Fujiwara cans Prodyced portable panting fem scroll, albums and screens Poetry and Literature ourished echuoe of «deepened interest in and understanding of the human nature The book, Taleo! Genji by Lady Murasaki Shikibu, influenced the art of Printmaking ate Kamakers Period 2 es Marked the beginning ofthe feudal period that would last for 700 years a Soman ee ete ae ra. cn ogun being Minaneto No Yortsoss Preponderant Chinese influence especially on landscape Ceramics was introduced to Japan, the tea ceremony was bom. ‘Muromacht Perfod (1388 ~ 1873) ‘The Aashika shoguns favored Zen Buddhism Faw ery Eee SS gee aCe tn Teele acer -Momoyama Pariod (1568 - 1615) ‘ ema Se eee inpaae acm er enaneeae ea 1 the representation of poetic farm_ iain reached new heights of perfection atapancee-peloting= lniuenced by Zen “Draw bamboos for 10 years, become a bamboo, then forget all about bamboos ‘when you are drawing, in possession ofan infallible technique, the individual places himseif atthe mercy of inepiration= Few brushatrokes to convey essentials of the object ~ “one —comer syle is the Japanese pronunciation ofthe Chinese Chan, the Vigorous fundamentalist Buddhist sect which fee Qourished in Chine wader the Tung dynasty; It was @ kendo the evokes of = spontaneous, immediate, and without any extraneous thocaie between need and act; Medium used, pire black Chinese Ink; Subject matter landscapes, the changing season's and porate € 2: The secular mode of Japanese nobility charmcterized by high ‘splized faces and empanais on ually painted on Gas colasaleCenating evolved new standard for the Japenese Side or semi =niae> Woman depicted as.a sensual oftentimes+ Architecture Principle characteristic: intimate relationship between the building + No rigid line drawn between house and garden but interior and exterier interact + Uncluttered interiors with sliding doors and screens that reflect pattems and, foliage in the garden Main room has a recessed alcove, the iokonoma, of an asymmetrical ‘construction, which containe a few important objects that are the focal points of interest ~ a vertical hanging ecrol(kakemono}, a vase with flowers according. to a.sythbolic pattern, and a vessel, such as an incense burner = Gave rise to the “dry landscape” which replaced the “water and hill” gardene + Abstract nature, to condense it: to cover a distance of thousands of leagues in ‘afew feet and inches + Shinto and Buddhlat architecture 3b ines are typical : 1 4s representative type, resta on piles and has a thatched tof. It is haracterided by simplicity and dignity in the careful observance of proportions + As to Buddhist temples in Japan, they copied Chinese models’ closely, especially those of Tang dynasty Horyuji and Todaij temple cpmlexes near naara, were their pagodas Prints: an art form that the Japanese had excelled at Printinakcing originated from the production of gente screens (Oyuibo) + Indus Valley clviilzation { 3000 8) 1 Mohenio = dar and Mavrapa, cies in northwestem india that are important centers Very little of ther architecture and sculpyure had survived Bronze and copper slatuettes and steaiite seal: few evidences of this early civilization ‘Sculpture of a nude torso found at Hasrappa: emphasizes sensuous surface rather than logical structure Stauette of « dancing gil from Mohenjo ~ daro: showa vigor and at the same ‘concer for surface texture that have always characterized Indian art + Miniatures they portray in: intaglo bulls, elephants and other ceremonial animals, aa well as primitive Indian deities: They contain encryption that hace remained undeciphered +) Ido Aryan lavastoms (1500 - 800 BC) Chelle a Yieraure was embed in Vega, the earliest of which was th Fontaining hymns to their 9 whom they offered d 1 Inattated the enste system(s ne highest caste consisted of pricata and schol z Cag Pri TGs life of the community and supplied the sa *hich, with the Brahmans, constituted 1 farmers; and the rere and serfs yen without caste, oF 8 s the “untouchables” + Traisitional Period (800 - 400 BC) + Byolution of Hinduism of BrahmanismUpanishads: religious text written in Sanolerit Brahma is the eoszac principle with atman (breath) a inman ats x Samear) te ‘souls, and the law that heotacaininene Me wil determine na ture a §.the absarpticn.of the indiaditaL apiai Into The word soul, attended er one's Karna is perfected through counilesa feb ‘Maurya period (3008¢ 4 100) Founded by Chandragupta Maurya Highest point ofthis period: the rule of Experor Asoka (272-292 BC). He ordered construction of sacred echumne, which were inscribed ‘the teachings of Buddha. Contained Buddhist symbol, repr 1h elion of the Saleya clan: Perlod of Farce sigies [ts 95 centuries AD) Greco~ Buddhist style. The northwestern India had come into contact with the Hellenistic culture with the conquest of Alexander ‘Trade and communications carried along the aie route ‘The features of the master resemble those of a Hellenistic Apollo with a Sure ~ intra sie Represeiton of Bc m Figure of Buddha = 7 slimmer waist, he was clothed in a finer, transparent garment, G ive ality Cera Figures nue marelongated and idealized Phere salvetore movement but nfl control ‘The Gupta or the Clatsical Perlod (5 ~ 6% centurtes] Combination of the Greco Buddhist style and the Mathura Figure of Buddha: majestic and refined ‘An image of tranquility and inwardne In painting, the great bodhisatttavs in the Ajante Caves show the fullness of the gupta styles Fluidity of line and a subtlety of coloration Post ~ Gupta period (beg. With the 6m century) Hindu temples considered a square cella with a peristyle and a barrel roof ‘The roof iter beeame more emphasized as it became elevated and increasingly elaborate ‘Aa example is found in temples of Mamallapuran. Cut out of the.rock, the ‘Tools repeats in a series of rowa the thatch of early sbrines found in relief of the walle of etapes it in 1632 tsi na) Period (164 centary) Like n gem in a ming of rors platform 800 fet wide ‘shape for its main entrances and for the receszes on two level On its surface ae arabeaques of Persian af has pointed donjes on its sides, while the whole structure is lanked Mich contributes to the impression of lightness andiI Indo: Phillppines sian Permeated by strong Hindu ~ Buddhist tradition due to the migration of Indian, culture Evident especially in architecture, theater and dance In architecture, the greatest testitiony to this tradition Jpodour in ja Pottery Shape refers o the description of the vessel's body, the form ofits mouth, the thickness ofits lips, ears, spouts, and legs applied to its body ‘Method of decoration - refers to the manner by which designs are designed on the body's surface ‘The impressed method: done by pressing on the vesbéi's"surface, while it ia still wet, a certain rope, string, of @ small piece of mat so that the texture of the object will leave its imprint as the vessela dries. The incised inethod of decoration means that the potter uses a sharp object to draw certain patterns fon the earthenware’s body while itis still wet. Deeigns: abstract or representational. Abstract: dots, stright lines and curved. lines, These motife are derived from nature, such as seeds, stars, waves, clouds, branches, flowers, feathers, primitive man styled into simple, rhythmic forma. A repetition of the double curved (a) lines ie reminiscent of waves or vines, “7 formation: may be repeated as arrows, chevrone, triangles within bigger tangles. The “x” is very common, sometimes repeated as a crossing of double lines, Representational drawings: ony few. Very miniacue drawing of Maniunggul burial jar ~ 66.5 cm in height 51 cm diameter at ite greatest width. Alone of ita kind Houses During the 16% century, there were single - room constructions with wall of ‘bamboo and roofs of palm leaves Rested on four posts and the access tothem was by means of bamboo ladders Ground floor: used for storage Cooking and washing was done in the batalan ‘The houses of chiefs were larger. It has many rooms, built upon trunks of trees and made of hardwood. They were roofed with nipa ‘The house of the chief became a place for religious or other purposes since there are no public buildings ‘This style of housing can etl be seen today with the bahay Kubo, the Ifugao house, and the Maranaw house Bahay Kubo. Geophysical conditions are the shain factors that affect the style of the architecture ofa certain place ‘Bamboo and nipa are the most common construction materials Bamboo Mleore support the ingle loor comprising ofthe sala and the sleeping. Bamboo, opened and flattened, and nipa are used for walls Nipa serves to cover roofs Roof: slopes on the 4 sides of the living ares, extending beyong the walls to protect it from the heavy rains ‘The elevaton from the ground provides protection from the floods. It als 0 serves as a ventilation for heat ‘The roofed room are only for sleeping and entertaining guests Houseliold chores are done in the bntalan, an open air expansion at the back ‘af these reofed rooms Ground eor: orage for crops or for enclosure for fowls and work ~ animalsGrits IRE most immediate room trom the stare, spacious hall used for Seeing ng fiends; and antesela; and'an all ~ parpove Toom for diy ‘sewing or dancing Sala ~living room. Balls and dances during fi takes place ‘Comedor - dining room Cocina kitchen, Brit separately trom the louse Bit connected tothe house Proper by a eause way Dispensa room adjacent to the kitchen, Food storage Comun of latrina~ toilet, adjacent to the service ares Bato or paliguan - bathroom, buill separately from the toilet ‘Azoiea~ flat, open terrace open to the tole. forms an extension of the house used ae & ia area for servants tas and other special occasion faa Inc aeasiclsm ~ tuscan, ionic or Corinthian columns over the house front anata OME; Dorie and ionic Hiezes; lotus Ieal and honeyaceane anthemia for the roo ron grilles: Buxom Caryatids, Tea eth Oxia woolen arches with spandrels pieveed by quatretile- propel Qitnd over windows, or at partitions between the volad fd tae ia ‘Proper, Ogee and tudor arches ueed in the saine places tin peomaneaque and Neo ~ Byzantine ~ round wooden arches embellished me bts tlefs: slender window coloneites whose chunky trapeso\dar eoapae fare carved into exuberant acanthus mx Noo; Kannlssunce = Adobe quoins at brick ground story walls; Half moon or angular pediments over projecting aalns and carriages porche Nene Fecil paintings of colfered ceilings, tympana, classical columns Neo Mudejar ~ Horseshoe arches and arabeeque trace pump tis Grackets whose incrustedintrados are decorated with chubby Pumpkin ~ shaped bosses. Colonial Regime ‘Architecture. Neceasiates Juan Arellano (Suprenie cour), Tomas Mapua (og ehine General Hospital, Antonio Taledo Manila Chy Hay slong ned nares Luna designed the Peres = Samanillo Huilting atthe escola along act nonves square plates Fea atelano (Metropolitan Theatre ~ Kntertainment buildings rene nisl construction: 2 story residences made of concrete were prefered by the wealthy homeowners Aaeanigg dines: Rizal Memorial Stadiom, Far Eastern University ‘Administration Duilding, The Manila Jockey Club, tes marked by louvers sind “pipe” mouldings capped bya Painting. Fabian dela Rosa, Femando Amorsolo dominated and inuenced the art scene = Dela Rose: Rice planters; Armorsolo; Planting Rice 2 Viewed their subjects with an end (owarda idealized representations + Poat War perlod to present 1 Ktchitecture. Marked by restoration and destroyed government buildings to their old forms - «Construction of devices such aa cantilevering, steel reinforcement, and glass 1 New materfis: Brise-solel or sun defectors, pierced sereens, movable louvers, fand pre fabricated concrete moldings became available + Boylea Boe (Luis MA. Araneta) 1 Philippine Bank of Commerce and Reconstruction of Finance Corporation (Juan Nakpit and sons) = Regina and Samanillo buildings (Andres Luna) * 2 sealpture. Abstraction, experimentation with new materials and technique ‘and new sculptural concepts Napoleon Abweva- modern sculpture Kbbeva- modernism (Baby Moses 1951), Ring of Gods (1971, staintess steel) 1 Abdulmert Imao - Jolo Sulu (Sarimanck motif], wood aculpture : carfosa, {Solomon Seprid = Tikbninng (Pence - loving Tikbalang, 1971, bronze. ‘Gomburza Monument in font of the Manila Cathedral = Eduardo Castillo Last supper at the Loyola Memorial Perk in Marikina. Picta (1969 ~ 1970, brass) Loyola Memorial Park in Paranaque The Invest experiments which challenge the prevailing modem concepts in sculptural art are being done at the Cultural Center «Those inclade environmental or situational sculpture are practiced by Roberto Chabet (using painted metal and wood planks) = Vigglio Aviado {rubber foam cutoffs) 1 Ray Albano (hanging metal and paper] Philippine Painting Spanish Roplme ‘The ‘earliest paintings were usually portraits done in miniatures, local landscapes and genre paintings 1. Antonio Malantic 2, Justiniano Asuncion 3, Juan Luna “Spolarium” 4, Felix Resurrection Hidalgo SofDismven-Dommpr= Falher ocPhilppine Paintings American Regime ~ “The trend was towards genre painting especially countryside scenes 1. Pabian dela Rosa 2._femande Amorsola 2. Pictono Sdades = Futhier of Modem Philipnine Art ] 4. Gale Ocampo carlos rancieco Poet- wes Penis TVicemte Manansala 2, Gana Lagaept S00 and 6 1 Remand Zobet 2. Arture opeto ve 3. dose Joye 2. Mauro Malang Santos & 8 ‘Ang Kiu Kok Anita Magsaysay HoMid - 608 and the 708 Mare Galang Prudencio Lamarosu Manuel Baldemor Paintlag. An Association of the Philippines (1946), Philippine art Gallery {1950} ~ helped introduced modem art to the populace (250) eailte tlemonde Ocampo (Garimancte, Nude with candle and fewer, Teg; Romeo Tubucne (Wash lines, Mujer, 1956), Vicente Manansaia (Madonna of te Slums, Jeepney, 1951); Cesar Legaspl )Sandman, 1947) New materials have eniered the process of painting: aluminum, wood, glass, ‘brass, found objects, and the like Scustousness, expressed terms of loud clash of colors, the curving shapes, the richly omamented surfaces that characterized.ie, works of Malang, Ocampo, Manansala, and Osorio" * Residence of * too open s display of their emotions”. “Local painters,true to iNGic culture shun too open a display of their emotions. Furthermore, they favor the wity, the urbane to the brutal of the monumental Furniture Batiwag furniture: Narra Predominant use of bone inlay Exclusive use of caning for seats and backs of chairs and bed frames "Rimmed legs with armel or plain stretchers Sofas and Chairs Ree tess was formed by 3 chair backs joined together SSSA SEX had an ovel pen work of cane between the upright of the spat Prontiegs weve turned and back lega were square joined by a plain h stretcher Wer ofgreat variety - turned front legs, plain, reeded or fluted, embrite les Ghai backs most commonly inspired by hepplewhite, coneisting of straight Siete top and slat below connected by 4 aplats fanning outward like a burch ‘ofplumes ‘emchaics had generous proportions, their arms curving downward ‘Aparador/ Chest . Fowning glory of the beliweg style Conaisted of 12 drawers and a center cupboard dist tlaborateness ofits decoration Batengas Fumiure Chinese influence Tindalo and golden brown tindalo as choice of wood Rig, aturdy (pieces for the sites. and ral, horizontal members tenoedl in Unighta and joints held together with bamboo dowels and thin wedges “Glue and naila were not uted Characterized bys sensitive. divi srncetul refinement of fines BisSration wee unobtrusive, consisted mainly of ft, shallow carving Kapiyar long bench patterned ater benches used in churches aa pews; scaled eee scape with wooden seats, sturdy square legs and uprights With straight fr scrolled spats for backs t Shhumpwey/cheir a. batangas: Chinese influence: built high, having @ aeeden Sent wpical 9: curved arms were supported by fangeaand a scalloped Toon usually applied under the front ofthe seat; hes 4 stretchers under the Sear'and the front stretcher was lower to serve as a foot rest b. bafiwog: Buropean influence; seat and back were in cane; font legs were turned in th manner of Sheraton, may be plain, reeded or Muted, chair backs were inapired by Hepplewhite; decorative motifs: Inurl leafs and rosette e Nocos: guished by the n of space, dignity, si plicty, and at Te Pattemed after Adah ut wert coneser in form; palmeria 88 wood ‘ampanga: move and kamagong x8 wood e. Laguna: Kamagong om mesa Persona nota derivative ofthe European siyics lounging chat, served from {ho Chinese reclining chairs of the Ching Dymnaly: eaned seats; Cassel ee Uncarved splayed legs Buoka ~ planation chair; caning; derived from the west indies; had extended flatwire anmrests that seo acted foot stole Sion ~ rocking char; hed sarah back; clongnted arms; solid ooking wertical fet rockers were aitached to arm chairseand lounging sake ont iccame’a permanent important part of te sola Barbe - Philipipine counterpart of the Vienna bentweod chair: used iron intend of bentwnod mixed with hardwnod Paminsian Chir ~ high chai, otal ph food view of the passers — by Sefa/sopa._ Charles Influence in form; constructed 3f3 chntbacka joined tage decorated by bone aya foal ners Couch /Diian~ serollended couch with serolled arma and high solid back covered with m carving inthe sive af racoco Victorian eased sone ek Short. stimoy lege Mariposa -Vetoran infvence: buttery shaped back; caned sents and back Gatinerd~ ingenious type of functional fariture: tora out of the Elipiro's Attachment to cock fighting: the underside of the kapiya structure or Uns cooy Porton ts usta formed of plats with flooring at hartnntal spate ‘Baul ~ chests had no fet: a Botangas: rested on a tall hallow base which forms a separate piece; citouts of sized Chinese clouds on the hont nod side ofthe base helped bring down it unusual height B baby: slghe bereel shaped top: bracket feet; profuse one inlay Naeas and. Yeager cole, ildejar she decorated ste work d. Mindanao: forme, sides and cecnaiolly the top were almost completely covered with shell inlay in grometse eee, ‘Aparador armoire coset Tkedor - bureau: dresser; semi baroque inspired with the use of profuse cstving and salmonie columns tem neo classe inapited: reeded and hoted toga with rosetter: may or mia not cmprate irr" Papag —bed without cosbion; usunly me of four weod with the vertical Straight eps and slats betwee ‘Kama ~ bed with cushion: eaned; sometimes in 4 poster form witha canopy of Srorbered materia Amaro pillow rack; for storing blankets, mat iekambo) descendant of Chinese cupola ‘Chinese fr drying ink aicks ‘utang - kw tbe: use Tor ining by provincil folk whe are used! oating on the flor when eating: portable Paminggaton ~ cupboart: for storing plates; china cabinet without doors Mesa dtr a. beiangas grentet achievement ofthe Batangas regional sive exact hiplicaies of the Chines altar bles; anges and aprons, saace tapering legs b, Batuag: starts with one drawer and. progresses to tos © rawer types wih 3 drawer types sporting the stiles that separate the theee ‘rawere; bone inlay: kgs were either tired, pin, ceeded Dated, square, Laperingc, foros combination of mess altar yahineraenth two large dre; aeroled flanges underneath a thik able top mth bone ond ebony laying er deawers, stiles, and rai the chicken coop haa vertical sate placed een together with a centering dooraf std woos cd 1 doors/ windows to got a pillows and mosquito nets ‘open shelves used by the [Gal y Canto ime or mortar in stoneCoanwente \eters to tye seakence ofthe pass pst usually built djacent the wall from which the =a large ornate wooden scveen structuce placed behind the main altar. Elaborately carved into fromed sections usually with a series of niches or teat recessed arene for sculptures or paintings ‘measure ofone vartor thre fetxx{MOORISHISIAM » AqHUsini i one Who follows the religion of Islami; fouinided in Arabia ‘by tt prophet MaRammiad in the 7th Century AD AcGGIBIE 8 let means succossorin Arabic. They were the lawl successor cl the proper Moharame: Goose Mohammedan people living in Northem Africa. The moors were generally classified into several groups. 7 SSgeeemecrertous rnatives’of Northern Alfica ~ » The moors crossed the strat of Gibraltar in boats, there then followed a great battle on the banks of Andaluci ‘The moors showed no great zeal in making converts fo Mchammedanism, they were more, lunes than in be GENERAL CHARACTERISTICS OF AOeRISaTS EMG ARG MTES TURE 1. Surface decoration is the most important stylistic quality consisting of 2 yay colored nan were ; namentation is almost always, aolallusey 1 ethene = embossed stamped 8M-the'decorativa us® of calligraphy J 8. “conventional floral patterns sel in a geometrical framework {erSialectte coiings 1Gled voussoirs ized tes FORMS.OF MOORISH/ ISLAMIC ARCHITECTURE 3 mast important {3 consisting ofa courlyard surrounded by a colonnaded sssembly hall with one or more minarets “> Bul around g cousyard wih alowiain the cen ecoue” has a huge domed chamber wil facades elaborate divided into bands and Danels that ate omamented wid eels cr nad wih coor stones or metals “DIBAZAAR,XXxIN{DEIENTAD A. CHINESE The impact of religion was very pronounced in China, brought from India to China, the Buddhist religion greatly stimulated artistic creativity ‘The characteristic form is a timber skeleton or framewor ‘atfony and covered by a pitched roof with overhanging eaves is af Chinese uildings are free trom the weight of the upper 'y be installed or omnilted as required FORMS.OF CHINESE ARCHITECTURE ‘a. one storey , mult storey muti eaved ‘conical pagouas [> monumental arch way or gateway B. JAPANESE, : Japanese art began to flourish shorly after the introduction of Buddhism from ‘China in the 6th C. Greatly influenced by Chinese styles, these were used for both the curly Japanese Buddhist paintings and sculptures and the later scroll paintings of {: gendary historical events. Brush and ink,caligraphy by the Chi pled by tie Japanese as the basis for their famous} studies. ~ The Jspanese however made improvements and thelr distinctive styles of painting, sulplure, architecture, architecture and decorative art Basically, the Japanese were minimalists, using mostly materials, derived from nature like lightweight trees and bark and paper covered walls for their houses. They 260 adapted the Pagodas ofthe Chinese afd a the same te because of ther political O.renlation developed the Imperial Palaces.X. CHINESE Cherocterzed by simply ofthe unbvoken by Oentaton traced under two dymestes ing ond Ching. . é ‘+ FURNITURE ° RAL CHARACTERISTICS OF CHIN CCorpoiner becuty and lunction indesign Ae Ot cigny retnement Welproper tones Uniebe fective itn fol abrence of nels and dowel when dowels fore presen I generaly means inal por hes been done Boned enfraly on more ond enon wih knifed ute of dovetaling fond ge Po eRe [BASIC TYPES OF CHINESE FURNITURE CHINESEYOKEBACK * : > resembling the yoke in the plow 2. LOHAN CHAIR! = presence ofa spa in a semi ctculex back hel continues os arm resis = with a square seo! > lh sroigh! legs | 3. HORSESHOE CHAIR = simlor Io Lo Hon but without e splat 4. GuESTCHAIR + > nicole betwork 5. THRONE SOFA: = Chinese doy bed wilh few backs and atm rests 3 Either ol told wood or fatice work = Legs ore square ond squat ending ina horse neo! foot 6. KANG TABLE = cotles or tea table & low tabla 7. TRESTLETABLE = high rectongulor table = setved as 0 side fable ollen placed dgalnst a wall 8 ALTAR TABLE = for worship 9. PALSHEN CHOTABLE = Tobie for Eigh! immortals © ining lables were almost alwoys suiable for 8-10 people since i imporian! thal everyone should be able fo reach the main dshes wilh chopsticks 10. AH-TAY bed ¢ > opium bed > wilh four posts and @ conopy of totwork = curtains or croperies were ted on the posts 5 piled wih cushions one! plows 11, SCREENS:12, CHINESE FOUR SEASON FLOWERS (9) PEONY - spring b) LOTUS~ summer €]_ CHRYSANTHEMUM fol <4} PLUM BLOSSOM - winter + woop . 1 2. 3. 4. TEAK ~ lor more ordinary style furniture ond never used 5 BASIC TYPES OF CHINESE WOOD ROSEWOOD (hue: ~ for fine furniture | SANDALWOOD (fzu-Fan) ~ favorite wood becouse its beouly Increases with age EBONY (wu-mu) ~ for inlay Kradilionally in cabinel making CAMPHORWOOD — for wardrobes and other conlainers + ORNAMENTATIONS 1. Lacquer 2. Red lacquer - highly prized and colored with Cinnabor{onan CHAM Ft f owsesto Cuan tebe -jofaing mtr couch wi aling OF vid wood patels Legs were aquired or coved ‘RESTLE TADLE- Ni tecnas ‘Roses sie table placed often inrasd fo deploying oles reef ore fated 1010XI. /ABANESE - An oworeness of space hos ako influenced tho Japanese in planning their home ‘ond designing and &ranging their furniture. Accuslomed fo sillina, sleeping on the floor, they needed neither fables, chairs, nor beds. : 3 ¢ FURNITURE JAPANESE FURNITURI . ' 1. Mos! of the freestanding furnilure is small, ow ond kghtweight 2. Lacquered wood , 3. Pillows of brocade and sik are placed directly on the lotami BASIC TYPES OF JAPANESE FURNITURE Ls SHO ¢ = light, paper covered ramewerk wilh painted panels = made divisions within rooms = shes or grooves on the floor 2. TATAMI MATS [= made of ice straw and cushes 3. "TAKONOMA = small alcove set opart for exhibiting a particular painiing or work of art 4. FUTON = beds tha! con be rolled and lied In o bundle when not in use 5. IKEBANA * ' . =: Hower enengement‘ 4 be A-ma-— Zu “ N 4 A af Ss SS NY DN yQ PF BP Bem_ XXII PHILIPPINES Phiippine architctine doveloné jon tho TER HITE EAHAY KUBGIM hich was Jasigned by our lovtathers oul of Ravessly. it consis of a Untied pal ‘oat arn Shee ee Been Ss an aon ado native alee Waetes BASE, palm, Vine, grass and sawali.« With the Spanish conquest, thé[BAHAY NA BATA. was built to suit the Spanish fstocracy. Itusually has a veranda, grilad windows, azole roots, was made of Stone wath partions and was 2 two-storey structure. The Filipinos added the capiz saree ket een balusters an used pierced designs On UBBEr pats OT Winds (or ar ereuration In ecclesiastical architecture, the Spaniards brought forth with themn the styles of Europe = Renaissance and Baroque, while pollical architecture was inlreduced by the ‘Amaricans through the Neo-Classic sly. “Post Office" = "Manila City Hat” “The Matrapoitan Theater S “Jones Bridge" 2. ANDRES LUNA. > *Lunola Hotel 3 PABLO ANTONIO ¢ = “Lyre Theater” = FEU 4 WILLIAM PARSONS => “The Manila Hotel = PCH" 3 BNC 5 GABRIEL FORMOSO 4 => "Central Bank Buliiig” 6 -LEANDRO LC ? © "Benguet Center” = "St Andrew's Church" Been 7 ERANGISCO MANOSA1X, PHUMPPINE the fist pieces of domestic furniture used by the Spaniards in the Phiippines were ret gh! aboard the galleons from Mexico fo Manito. By 1573, when the Spaniards started trading wih the Chinese. the [aller began co supply the Sparith setllemen! whose population had already expanded with rch shal boned wares such as beds, fables, chaits. gikded benches, and other household goods. In the 16% C, merchanls from Mexico began fo setlle in Manlio to supply the yotassional elemenks needed in he commerce belween Manila and Acapulco. 3scavering an obuadance of beauliful ropical hardwoods growing in the istands pits he¥ orltie excellence in cablne! making which Ihey achieved in Nove Espafia, these merchants decided fo have thei furniture made in Manila. by the fis! yaors of the 17% C; a slyle of furiture cated MUEBLE ENCONCHADO was produced. Modeled aller the Spanish Mudejar Siyie, these were moslly ebony ¢ Srotusely inloid with Mother of Peart and siver. the mounls were made of gided bronze je were the capitals and columrs al the lour corness of the cabinet. instead of feet, the Upworls were usually slyized fons but the inlay slyle was oriental in feeling. Such virliare were élecrly only for the rich merchanls, high royal officials of these clergy in axciled positions. ln the meahlime. oulside of Monto, the frais of the different orders were busy ssicbishing srisionary centers inthe provinces of Luron and Visayas. The church Jettiementt were the center of clvilzation. The ‘rior missionaries were kept busy Srodiveing richly cured church furilura with ihe help ef Flipin and Chinese arllsons, In due lime, the natives of llocos region excelled in making elaborately carved ond pointed fumiture, the people of cenirai Luzon mastered the art of bone-inlaying. ‘nd the Viseyans became experts at carving narra end other hardwood. the coring and inlaying of {urriture by the Fipino cratismen reached o high degree of excellence during the 17" and 18 centuries. Wilh the constuction of stone houses in the 17% C, Flipinos began fo furnish either nome with durable and lorger pieces of furniture. in his adobe and hardwood house, he now began to think of furniture as an integral part of his home. 6 FURNITURE : DISTINCT STYLES OF FURNITURE ‘OF THE PHILIPPINES These styles may be differentiated from each olher by: 1. Method of consiruction 2. Melerials usedA. BALIWAG FURNITURE These pieces of furniture are made in Baliwag, Bulacan. (GENERAL CHARACTERISTICS OF BALIWAG FURNITURE 1. Gtcbsvely made of nae « 2: Predominant vse of bone inlay + 3. Beal ui of ering Tr sats ond backs of chats ond batt frames 4, Turned legs ih turned or plain setchers + 5. European fumilure staring rom Queen Anne fo Sheraton, Spain Imported much Engish furiive in the 18 C which influenced Spanish luniture of the ime. This affected In tum the furl made In Nova Espo. Finally, when the sive reached the Philippines. there were much allerations by the addition of local elements of the counties hough which ihe style passed. 4, Alihough the sive of furiture appeared frogie, especialy the folos ond chats, hey were slurdy and bull for permanence. Tha secre! fay inthe Johery and the absence of nals. Meriise , ‘andi tenon jcints were held in place by bamboo dowels, f INDIVIDUAL PIECES OF BALIWAG FURNITURE 1. SOFAS AND CHAIRS ‘= A sola sehen wos formed by 3 chal backs joined together. S Each back hed an ovel panel work of cane between the Luprighis of the splal, = Front legs were lumed and back legs were square joined by, dpleini stretcher. £ = Cohed seais.! > Cratted backs were decoraled with floral scrolis of bone Inlay! Inlay was also found on the back support, the uprights ff the splals, on the arms and front, and siderais. = Balwog chots were of great variety - tuned front legs. ¢ plain, reecied or fluted, and occasionally, cabriole legs: = Chai backs were most commonly inspired by Hepplewhite, Contisling of a slight slol on top and slal below connected by four splals fanning ouiward Eke a bunein of plumes. = Aimchais had generous proportions, their crms curving downward. 25APARADOR/CHEST * . = Crowning glery of the Balwag style. + 5 Conssied of 12 crowers and a center cupboard « distinguished by ihe elaberaleness o is decoration.B. BATANG! INURE 1 emerged in the toulharn Tagalog province of Balangas during the 17" ._ The chiel centers of aciivily wore Teal and Lipa and laler spread southward ¢ lo Ihe provinces of Bicol, Mindoro and Cebu. 7 GENERAL CHARACTERTISTICS OF BATANG. TURE 1. Unmistakable Chinese influence” 2. Choice of wood was tindolo# TAU-T'AN) and golden brown findolo (HUANG HUA-UP 3. Big . sturdy pieces for the sles and ral, horizontal members tenoned in uprighIs and Joinis held together with bamboor. dowels ond thin wedges:fihis was the mode éf consiruciién + ‘employed in China for centuiies. > 4, Glue and nails were nol uillzed 5. Cheractarized by a sensitive division of space, dignily, simptcily, ond a graceful efinement of lines 6. Decoration wos unobirusive, consisted mainly of Mla, shallow caning MAJOR EXAMPLES OF PHILIPPINE FURNITURE In General 1. KAPIYA/CAPIA T = long bench patterned aller benches used in churches us pews > scaled down = simple with wooden seats = slurdy square legs ond uprights will slraigh! or scrolled splals for backs 2. SALUMPUWET/CHAIR @. BATANGAS : Chinese Influence bull high, having @ wooden seat 23 inches obove normal wilh ample width varying kom 23-25 inches typical S-cuved axms were supported by flanges end a scalloped apron Lsvaly opptied under ihe front of the soat hhad 4 selchers under the seat and the front stretcher wes lower fo serve 0: a fookes! b. BAUWA@: Europeon Influence seo! and back were in cane front legs were turned in the manner of Sheraton, may be plain, waded, or - tuted : chal becks ware spied by Heppiewnd Aeceralive mots Foret inaie ollemned cltor Adort bul were coctrer in fxr 5 wood urodpalmeria . PAMPANGA.” i adyisact metave ond komagong