Ludovico Buti was an Italian painter, active in Florence. Belonging to the late-Mannerist period, he worked along with more famous figures as Alessandro Allori, Bernardino Poccetti or Santi di Tito on large projects, including the decoration of certain ceilings of the Uffizi and the Grand Cloister of Santa Maria Novella. In 1589, the duke Ferdinando I commissioned the decoration of the Map Room and the Stanzino delle Matematiche, following a design by Stefano Buonsignori. There is a fresco by Buti on the Annunciation at the Basilica of Our Lady of Humility in Pistoia, as well as the cathedral at Fiesole
In Roman city planning, a decumanus was an east-west-oriented road in a Roman city, castrum, or colonia. The main decumanus was the Decumanus Maximus, which connected the Porta Praetoria to the Porta Decumana; this name comes from the fact that the via decumana or decimana separated the Tenth Cohort from the Ninth in the legionary encampment, in the same way as the via quintana separated the Fifth Cohort from the Sixth. In the middle, or groma, the Decumanus Maximus crosses the perpendicular Cardo Maximus, the primary north-south road, the usual main street; the Forum is located close to this intersection of the Decumanus Maximus and the Cardo Maximus. In the ancient Roman city of Barcino, the Decumanus Maximus started at the Roman gate in front of the current Plaça Nova square, the only Roman gate extant. Within the city of Split in present-day Croatia is the UNESCO Roman monument, Diocletian's Palace; this city, built by the Emperor Diocletian, exhibits the characteristic Roman orthogonal street system with the Decumanus Maximus connecting the west Iron Gate to the east Silver Gate.
At the present-day city of Umm Qais, the Decumanus runs east-west for one kilometre with its ancient flagstones extant. Another fine example is the "Straight Street", Via Recta, in Damascus, 1,500 metres long, connecting the eastern and western gates. In Beirut's Central Business District, Rue Weygand, which runs east-west, still follows the ancient Roman Decumanus. In Florence, the Decumanus is preserved as the streets Via Strozzi, Via Speziali, Via del Corso in the city's old centre. Although these streets have different names they form a continuous line with a split between the Via Strozzi and Via Speziali by the Palazzo Strozzi. Roman times, these three streets formed the Decumanus of the name of the Roman colonia; the Via Roma and the Via Calimala are formed from the ancient Cardo, what was once the Forum in ancient Florence is now the Piazza della Repubblica. In Naples, there still exist three main decumani which are, from west to east: Superiore: consisting of Via Sapienza, Via Pisanelli, Via Anticaglia Maggiore: Via dei Tribunali Inferiore: Via Spaccanapoli, consisting of Via Benedetto Croce and Via San Biagio dei Librai
Terracotta, terra cotta or terra-cotta, a type of earthenware, is a clay-based unglazed or glazed ceramic, where the fired body is porous. Terracotta is the term used for sculpture made in earthenware, for various practical uses including vessels and waste water pipes, roofing tiles and surface embellishment in building construction; the term is used to refer to the natural brownish orange color of most terracotta, which varies considerably. This article covers the senses of terracotta as a medium in sculpture, as in the Terracotta Army and Greek terracotta figurines, architectural decoration. Asian and European sculpture in porcelain is not covered. Glazed architectural terracotta and its unglazed version as exterior surfaces for buildings were used in Asia for some centuries before becoming popular in the West in the 19th century. Architectural terracotta can refer to decorated ceramic elements such as antefixes and revetments, which made a large contribution to the appearance of temples and other buildings in the classical architecture of Europe, as well as in the Ancient Near East.
In archaeology and art history, "terracotta" is used to describe objects such as figurines not made on a potter's wheel. Vessels and other objects that are or might be made on a wheel from the same material are called earthenware pottery. Unglazed pieces, those made for building construction and industry, are more to be referred to as terracotta, whereas tableware and other vessels are called earthenware, or by a more precise term such as faience. An appropriate refined clay is formed to the desired shape. After drying it is placed in a kiln or atop combustible material in a pit, fired; the typical firing temperature is around 1,000 °C, though it may be as low as 600 °C in historic and archaeological examples. The iron content, reacting with oxygen during firing, gives the fired body a reddish color, though the overall color varies across shades of yellow, buff, red, "terracotta", grey or brown. In some contexts, such as Roman figurines, white-colored terracotta is known as pipeclay, as such clays were preferred for tobacco pipes made of clay until the 19th century.
Fired terracotta is not watertight, but surface-burnishing the body before firing can decrease its porousness and a layer of glaze can make it watertight. It is suitable for use below ground to carry pressurized water, for garden pots or building decoration in many environments, for oil containers, oil lamps, or ovens. Most other uses, such as for tableware, sanitary piping, or building decoration in freezing environments, require the material to be glazed. Terracotta, if uncracked, will ring if struck. Painted terracotta is first covered with a thin coat of gesso painted, it has been widely used but the paint is only suitable for indoor positions and is much less durable than fired colors in or under a ceramic glaze. Terracotta sculpture was rarely left in its "raw" fired state in the West until the 18th century. Terracotta female figurines were uncovered by archaeologists in excavations of Mohenjo-daro, Pakistan. Along with phallus-shaped stones, these suggest some sort of fertility cult and a belief in a mother goddess.
The Burney Relief is an outstanding terracotta plaque from Ancient Mesopotamia of about 1950 BC. In Mesoamerica, the great majority of Olmec figurines were in terracotta. Many ushabti mortuary statuettes were made of terracotta in Ancient Egypt; the Ancient Greeks' Tanagra figurines were mass-produced mold-cast and fired terracotta figurines, that seem to have been affordable in the Hellenistic period, purely decorative in function. They were part of a wide range of Greek terracotta figurines, which included larger and higher-quality works such as the Aphrodite Heyl. Etruscan art used terracotta in preference to stone for larger statues, such as the near life-size Apollo of Veii and the Sarcophagus of the Spouses. Campana reliefs are Ancient Roman terracotta reliefs mostly used to make friezes for the outside of buildings, as a cheaper substitute for stone. Indian sculpture made heavy use of terracotta from as early as the Indus Valley Civilization, in more sophisticated areas had abandoned modeling for using molds by the 1st century BC.
This allows large figures, nearly up to life-size, to be made in the Gupta period and the centuries following it. Several vigorous local popular traditions of terracotta folk sculpture remain active today, such as the Bankura horses. Precolonial West African sculpture made extensive use of terracotta; the regions most recognized for producing terracotta art in that part of the world include the Nok culture of central and north-central Nigeria, the Ife/Benin cultural axis in western and southern Nigeria, the Igbo culture area of eastern Nigeria, which excelled in terracotta pottery. These related, but separate, traditions gave birth to elaborate schools of bronze and brass sculpture in the area. Chinese sculpture made great use of terracotta and without glazing and colour, from a early date; the famous Terracotta Army of Emperor Qin Shi Huang, 209–210 BC, was somewhat untypical, two thousand years ago reliefs were more common, in tombs and e
The Ionic order forms one of the three classical orders of classical architecture, the other two canonic orders being the Doric and the Corinthian. There are two lesser orders: the Tuscan, the rich variant of Corinthian called the composite order, both added by 16th-century Italian architectural writers, based on Roman practice. Of the three canonic orders, the Ionic order has the narrowest columns; the Ionic capital is characterized by the use of volutes. The Ionic columns stand on a base which separates the shaft of the column from the stylobate or platform. Since Vitruvius, a female character has been ascribed to the Ionic; the major features of the Ionic order are the volutes of its capital, which have been the subject of much theoretical and practical discourse, based on a brief and obscure passage in Vitruvius. The only tools required to design these features were a straight-edge, a right angle, string and a compass. Below the volutes, the Ionic column may have a wide collar or banding separating the capital from the fluted shaft, or a swag of fruit and flowers may swing from the clefts or "neck" formed by the volutes.
The volutes lay in a single plane. This feature of the Ionic order made it more pliant and satisfactory than the Doric to critical eyes in the 4th century BC: angling the volutes on the corner columns ensured that they "read" when seen from either front or side facade; the 16th-century Renaissance architect and theorist Vincenzo Scamozzi designed a version of such a four-sided Ionic capital. The Ionic column is always more slender than the Doric. Ionic columns are most fluted. After a little early experimentation, the number of hollow flutes in the shaft settled at 24; this standardization kept the fluting in a familiar proportion to the diameter of the column at any scale when the height of the column was exaggerated. Roman fluting leaves a little of the column surface between each hollow. In some instances, the fluting has been omitted. English architect Inigo Jones introduced a note of sobriety with plain Ionic columns on his Banqueting House at Whitehall Palace and when Beaux-Arts architect John Russell Pope wanted to convey the manly stamina combined with intellect of Theodore Roosevelt, he left colossal Ionic columns unfluted on the Roosevelt memorial at the American Museum of Natural History, New York City, for an unusual impression of strength and stature.
Wabash Railroad architect R. E. Mohr included 8 unfluted Ionic frontal columns on his 1928 design for the railroad's St. Louis suburban stop Delmar Station; the entablature resting on the columns has three parts: a plain architrave divided into two, or more three, with a frieze resting on it that may be richly sculptural, a cornice built up with dentils, with a corona and cyma molding to support the projecting roof. Pictorial narrative bas-relief frieze carving provides a characteristic feature of the Ionic order, in the area where the Doric order is articulated with triglyphs. Roman and Renaissance practice condensed the height of the entablature by reducing the proportions of the architrave, which made the frieze more prominent; the Ionic anta capital is the ionic version of the anta capital, the crowning portion of an anta, the front edge of a supporting wall in Greek temple architecture. The anta is crowned by a stone block designed to spread the load from superstructure it supports, called an "anta capital" when it is structural, or sometimes "pilaster capital" if it is only decorative as during the Roman period.
In order not to protrude unduly from the wall, these anta capitals display a rather flat surface, so that the capital has more or less a rectangular-shaped structure overall. The ionic anta capital, in contrast to the regular column capitals, is decorated and includes bands of alternating lotuses and flame palmettes, bands of eggs and darts and beads and reels patterns, in order to maintain continuity with the decorative frieze lining the top of the walls; this difference with the column capitals disappeared with Roman times, when anta or pilaster capitals have designs similar to those of the column capitals. The ionic anta capitals as can be seen in the Ionic-order temple of the Erechtheion, are characteristically rectangular Ionic anta capitals, with extensive bands of floral patterns in prolongation of adjoining friezes; the Ionic order originated in the mid-6th century BC in Ionia, the southwestern coastland and islands of Asia Minor settled by Ionian Greeks, where an Ionian dialect was spoken.
The Ionic order column was being practiced in mainland Greece in the 5th century BC. It was most popular in the Archaic Period in Ionia; the first of the great Ionic temples was the Temple of Hera on Samos, built about 570–560 BC by the architect Rhoikos. It stood for only a decade. A longer-lasting 6th century Ionic temple was the Temple of Artemis at Ephesus, one of t
Mary, mother of Jesus
Mary was a 1st-century BC Galilean Jewish woman of Nazareth, the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin; the miraculous conception took place when she was betrothed to Joseph. She accompanied Joseph to Bethlehem; the Gospel of Luke begins its account of Mary's life with the Annunciation, when the angel Gabriel appeared to Mary and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to Catholic and Orthodox teachings, at the end of her earthly life her body was raised directly into Heaven. Mary has been venerated since early Christianity, is considered by millions to be the most meritorious saint of the religion, she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Catholic and Lutheran churches believe that Mary, as mother of Jesus, is the Mother of God.
There is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, her Assumption into heaven. Many Protestants minimize Mary's role within Christianity, basing their argument on the relative brevity of biblical references. Mary has a revered position in Islam, where one of the longer chapters of the Quran is devoted to her. Mary's name in the original manuscripts of the New Testament was based on her original Aramaic name מרים, translit. Maryam or Mariam; the English name Mary comes from the Greek Μαρία, a shortened form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament. In Christianity, Mary is referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husband's involvement. Among her many other names and titles are the Blessed Virgin Mary, Saint Mary, the Mother of God, the Theotokos, Our Lady, Queen of Heaven, although the title "Queen of Heaven" was a name for a pagan goddess being worshipped during the prophet Jeremiah's lifetime.
Titles in use vary among Anglicans, Catholics, Protestants and other Christians. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Panagia. Catholics use a wide variety of titles for Mary, these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelo's Pietà; the title Theotokos was recognized at the Council of Ephesus in 431. The direct equivalents of title in Latin are Deipara and Dei Genetrix, although the phrase is more loosely translated into Latin as Mater Dei, with similar patterns for other languages used in the Latin Church. However, this same phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication attached to her image in Byzantine icons; the Council stated that the Church Fathers "did not hesitate to speak of the holy Virgin as the Mother of God". Some Marian titles have a direct scriptural basis.
For instance, the title "Queen Mother" has been given to Mary since she was the mother of Jesus, sometimes referred to as the "King of Kings" due to his ancestral descent from King David. Other titles have arisen from special appeals, or occasions for calling on Mary. To give a few examples, Our Lady of Good Counsel, Our Lady of Navigators, Our Lady Undoer of Knots fit this description. In Islam, she is known as mother of Isa, she is referred to by the honorific title sayyidatuna, meaning "our lady". A related term of endearment is Siddiqah, meaning "she who confirms the truth" and "she who believes sincerely completely". Another title for Mary is Qānitah, which signifies both constant submission to God and absorption in prayer and invocation in Islam, she is called "Tahira", meaning "one, purified" and representing her status as one of two humans in creation to not be touched by Satan at any point. The Gospel of Luke mentions Mary the most identifying her by name twelve times, all of these in the infancy narrative.
The Gospel of Matthew mentions her by name six times, five of these in the infancy narrative and only once outside the infancy narrative. The Gospel of Mark names her once and mentions her as Jesus' mother without naming her in 3:31 and 3:32; the Gospel of John never mentions her by name. Described as Jesus' mother, she makes two appearances, she is first seen at the wedding at Cana. The second reference, listed only in this gospel, has her standing near the cross of Jesus together with Mary Magdalene, Mary of Clopas (or Cleophas
Sacred architecture is a religious architectural practice concerned with the design and construction of places of worship or sacred or intentional space, such as churches, stupas and temples. Many cultures devoted considerable resources to places of worship. Religious and sacred spaces are amongst the most impressive and permanent monolithic buildings created by humanity. Conversely, sacred architecture as a locale for meta-intimacy may be non-monolithic and intensely private and non-public. Sacred and holy structures evolved over centuries and were the largest buildings in the world, prior to the modern skyscraper. While the various styles employed in sacred architecture sometimes reflected trends in other structures, these styles remained unique from the contemporary architecture used in other structures. With the rise of Abrahamic monotheisms, religious buildings became centres of worship and meditation; the Western scholarly discipline of the history of architecture itself follows the history of religious architecture from ancient times until the Baroque period, at least.
Sacred geometry and the use of sophisticated semiotics such as signs and religious motifs are endemic to sacred architecture. Sacred or religious architecture is sometimes called sacred space. Architect Norman L. Koonce has suggested that the goal of sacred architecture is to make "transparent the boundary between matter and mind and the spirit." In discussing sacred architecture, Protestant minister Robert Schuller suggested that "to be psychologically healthy, human beings need to experience their natural setting—the setting we were designed for, the garden." Meanwhile, Richard Kieckhefer suggests that entering into a religious building is a metaphor for entering into spiritual relationship. Kieckhefer suggests that sacred space can be analyzed by three factors affecting spiritual process: longitudinal space emphasizes the procession and return of sacramental acts, auditorium space is suggestive of proclamation and response, new forms of communal space designed for gathering and return depend to a great degree on minimized scale to enhance intimacy and participation in worship.
Sacred architecture spans a number of ancient architectural styles including Neolithic architecture, ancient Egyptian architecture and Sumerian architecture. Ancient religious buildings temples, were viewed as the dwelling place, the temenos, of the gods and were used as the site of various kinds of sacrifice. Ancient tombs and burial structures are examples of architectural structures reflecting religious beliefs of their various societies; the Temple of Karnak at Thebes, Egypt was constructed across a period of 1300 years and its numerous temples comprise what may be the largest religious structure built. Ancient Egyptian religious architecture has fascinated archaeologists and captured the public imagination for millennia. Around 600 BCE the wooden columns of the Temple of Hera at Olympia were replaced by stone columns. With the spread of this process to other sanctuary structures a few stone buildings have survived through the ages. Greek architecture preceded Roman periods. Since temples are the only buildings which survive in numbers, most of our concept of classical architecture is based on religious structures.
The Parthenon which served as a treasury building as well as a place for veneration of deity, is regarded as the greatest example of classical architecture. Indian architecture is related to the history and religions of the time periods as well as to the geography and geology of the Indian subcontinent. India was crisscrossed by trading routes of merchants from as far away as Siraf and China as well as weathering invasions by foreigners, resulting in multiple influences of foreign elements on native styles; the diversity of Indian culture is represented in its architecture. Indian architecture comprises a blend of ancient and varied native traditions, with building types and technologies from West, Central Asia, Europe. Buddhist architecture developed in South Asia beginning in the third century BCE. Two types of structures are associated with early Buddhism: stupas. Viharas were temporary shelters used by wandering monks during the rainy season, but these structures developed to accommodate the growing and formalized Buddhist monasticism.
An existing example is at Nalanda. The initial function of the stupa was the safe-guarding of the relics of the Buddha; the earliest existing example of a stupa is in Sanchi. In accordance with changes in religious practice, stupas were incorporated into chaitya-grihas; these reached their highpoint in the first century BCE, exemplified by the cave complexes of Ajanta and Ellora. The pagoda is an evolution of the Indian stupa, marked by a tiered tower with multiple eaves common in China, Korea and other parts of Asia. Buddhist temples were developed rather and outside South Asia, where Buddhism declined from the early centuries CE onwards, though an early example is that of the Mahabodhi Temple at Bodh Gaya in Bihar; the architectural structure of the stupa spread across Asia, taking on many diverse forms as details specific to different regions were incorporated into the overall design. It was spread to China and the Asian region by Araniko, a Nepali architect in the early 13th century for Kublai Khan.
Hindu temple architecture is based on Sthapatya Veda and many other ancient religio
Gothic architecture is a style that flourished in Europe during the High and Late Middle Ages. It was succeeded by Renaissance architecture. Originating in 12th-century France, it was used for cathedrals and churches, until the 16th century, its most prominent features included the use of the rib vault and the flying buttress, which allowed the weight of the roof to be counterbalanced by buttresses outside the building, giving greater height and more space for windows. Another important feature was the extensive use of stained glass, the rose window, to bring light and color to the interior. Another feature was the use of realistic statuary on the exterior over the portals, to illustrate biblical stories for the illiterate parishioners; these technologies had all existed in Romanesque architecture, but they were used in more innovative ways and more extensively in Gothic architecture to make buildings taller and stronger. The first notable example is considered to be the Abbey of Saint-Denis, near Paris, whose choir and facade were reconstructed with Gothic features.
The choir was completed in 1144. The style appeared in some civic architecture in northern Europe, notably in town halls and university buildings. A Gothic revival began in mid-18th-century England, spread through 19th century Europe and continued for ecclesiastical and university structures, into the 20th century. Gothic architecture was known during the period as opus francigenum, The term "Gothic architecture" originated in the 16th century, was very negative, suggesting barbaric. Giorgio Vasari used the term "barbarous German style" in his 1550 Lives of the Artists to describe what is now considered the Gothic style, in the introduction to the Lives he attributed various architectural features to "the Goths" whom he held responsible for destroying the ancient buildings after they conquered Rome, erecting new ones in this style; the Gothic style originated in the Ile-de-France region of northern France in the first half of the 12th century. A new dynasty of French Kings, the Capetians, had subdued the feudal lords, had become the most powerful rulers in France, with their capital in Paris.
They allied themselves with the bishops of the major cities of northern France, reduced the power of the feudal abbots and monasteries. Their rise coincided with an enormous growth of the population and prosperity of the cities of northern France; the Capetian Kings and their bishops wished to build new cathedrals as monuments of their power and religious faith. The church which served as the primary model for the style was the Abbey of St-Denis, which underwent reconstruction by the Abbot Suger, first in the choir and the facade, Suger was a close ally and biographer of the French King, Louis VII, a fervent Catholic and builder, the founder of the University of Paris. Suger remodeled the ambulatory of the Abbey, removed the enclosures that separated the chapels, replaced the existing structure with imposing pillars and rib vaults; this created higher and wider bays, into which he installed larger windows, which filled the end of the church with light. Soon afterwards he rebuilt the facade, adding three deep portals, each with a tympanum, an arch filled with sculpture illustrating biblical stories.
The new facade was flanked by two towers. He installed a small circular rose window over the central portal; this design became the prototype for a series of new French cathedrals. Sens Cathedral was the first Cathedral to be built in the new style. Other versions of the new style soon appeared in Noyon Cathedral; the Gothic style was adapted by some French monastic orders, notably the Cistercian order under Saint Bernard of Clairvaux It was used in an austere form without ornament at the new Cistercian Abbey of Fontenay and the church of Clairvaux Abbey, whose site is now occupied by a French prison. The new style was copied outside the Kingdom of France in the Duchy of Normandy. Early examples of Norman Gothic included Coutances Cathedral. Through the rule of the Angevin dynasty, the new style was introduced to England and spread from there to Low Countries, Spain, northern Italy and Sicily; the Gothic style did not replace the Romanesque everywhere in Europe. The Late Romanesque continued to flourish in the Holy Roman Empire under the Hohenstaufens and Rhineland.
From the end of the 12th century until the middle of the 13th century, the gothic style spread from the Île-de-France to appear in other cities of northern France. New structures in the style included Chartres Cathedral; the early type of rib vault used of Saint Denis and Notre Dame, with six parts, was modified to four parts, making it simpler and stronger. Amiens and Chartres were among the first to use the flying buttress. At Reims, the buttresses were given greater weight and strength by the addition of heavy stone pinnacles on top; these were decorated with statues of ange