Entablature

Leon Battista Alberti was an Italian modeler, artist, linguist, priest, rationalist, renaissance humanist polymath in the early 1400′s. He is celebrated for composing "De picture" a treastise on point of view drawings, "De Statua" a article on figure lastly "De Re Aedificatoria" (Art of building) created on works of renowned Roman architect Vitruvius' Ten Books on Architecture. However inquiries emerge in perusing Alberti: since ornamentation as a methodology is done on the whole work, and

of symmetry is drawn or imagined, the two halves appear identical. From even further than the ground up, from the foundation above, both houses have pillars, pilasters, windows, wood, glass, chimneys and so on of uniform size and style. Even the entablature that lies above the windows and columns appear to have no variation. Within this symmetrical design, there is stability, a decrease in the possibility that the house may cave in; rather than asymmetry, which has a higher likelihood of collapse

The website archdaily provides information on the architecture of the Munson- Williams-Proctor Art Institute. In Denim Pascucci’s article AD Classics: Munson- Williams- Proctor Arts Institute / Philip Johnson it is stated that the Munson-Williams-Proctor Art Institute was designed by architect Philip Johnson. This was Philip Johnson’s first ever museum. In the late 1950’s he would design two other free-standing museums. The other two are the Amon Carter Museum of Western Art (now American Art)

The introduction of this current week learning journal on the above point began with the authentic improvement of the Christian art that experienced a crucial change with its acknowledgment by Constantine. The imagery of Christian arts before Constantine engaged the devotee's longings for individual salvation, while the overwhelming subjects of Christian art after Constantine stressed the power of Christ and His congregation on the planet. Pretty much as Rome got to be Christian, Christianity and

distinctive element is the columns, which support an entablature. The Exam Halls columns contain smooth unfluted shafts made from Portland Stone, a highly sought after stone at the time. The column capital is ornate as all classical capitals are. The capital is decorated with acanthus leaves and small volutes. There is also a fleuron in the center of the abacus, which lie atop the column capital. The capitals are also made of Portland stone. The entablature, being held up by the columns, contains three

3-Why does your textbook see in Bramante’s Tempietto a “cerebral synthesis of humanist worldliness and Christian piety”? Bramante’s building was to embody the platonic preference for ideal form with the concept of the perfectly enclosed, hermetic architectural environment. This also embodies humanist ideology of worldliness represented in the phrase. He merges this with Christian piety as he incorporates the Christian reverence for tradition (reverence for the circular martyria of the early church)

the marble veneer lies internal brick arches and concrete that support the dome. The walls form a structural drum that holds up the dome. These structural elements are disguised by "a wealth of architectural detail-columns, exedrae, pilasters and entablatures-in two tiers"(Stokstad, pg. 264). The design of "simple repetition of square against a circle . . . established on a large scale by the juxtaposition of the rectilinear portico against the rotunda"(Stokstad, pg. 264-265). This repetition of square

The Parthenon was an amazing and expensive achievement of ancient Greece. Although it is mostly in ruins today, there is enough knowledge about its construction to allow others to recreate the structure. The Parthenon is often constructed not only to honor the ancient Greeks, but also to honor the culture and place where it is recreated. Although the Parthenon’s influence is tremendous throughout the western world, it is generally only faithfully represented in part- the nearest representations

The Etruscans developed a brilliant civilization, and left large footprints in the Italian peninsula, especially in the culture of the Romans. The Etruscan influence was felt in its period of greatest expansion, between the third and fourth centuries CE. The Etruscans gave great importance to the religious and funerary aspects. That is why his art will be closely linked to these two aspects of their customs. These influences are seen, both in architecture and sculpture and painting. Religious Architecture

The Etruscans, also know as the “Etrusci,” named by the Romans, the “Tyrrhenoi,” named by the Greeks, and the “Rasenna,” and “Rasna,” named by themselves, occupied the Italian peninsula north of Rome during much of the first millennium BC. Etruria was an urbanized civilization with their own customs, divinities, and beliefs. In order to gain knowledge about Etruscan history the main sources included, Roman literature and their impressive tombs. The cities were not well preserved which brought upon