A cavetto is a concave moulding with a regular curved profile, part of a circle used in architecture as well as furniture, picture frames and other decorative arts. In describing vessels and similar shapes in pottery and related fields, "cavetto" may be used of a variety of concave curves running round objects; the word comes from Italian, as a diminutive of cave, from the Latin for "hollow". A vernacular alternative is "cove", most used where interior walls curve at the top to make a transition to the roof, or for "upside down" cavettos at the bases of elements; the cavetto moulding is the opposite of the convex, ovolo, common in the tradition of Western classical architecture. Both bring the surface forward, are combined with other elements of moulding, they include a curve through about a quarter-circle. A concave moulding of about a full semi-circle is known as a "scotia". Only a minor element of decoration in classical architecture, the prominent cavetto cornice is a common feature of the ancient architecture of Egypt and the Ancient Near East.
Ancient Egyptian architecture made especial use of large cavetto mouldings as a cornice, with only a short fillet above, a torus moulding below. This cavetto cornice is sometimes known as an "Egyptian cornice", "hollow and roll" or "gorge cornice", has been suggested to be a reminiscence in stone architecture of the primitive use of bound bunches of reeds as supports for buildings, the weight of the roof bending their tops out. Many types of Egyptian capitals for columns are cavettos running round the shaft with added decoration; these include the types known as "bell capitals" or "papyrus capitals". These features are reproduced in Egyptian Revival architecture, as in the Egyptian Building in Richmond, Virginia; the cavetto cornice forming less than a quarter-circle, influenced Egypt's neighbours and as well as appearing in early Greek architecture, it is seen in Syria and ancient Iran, for example at the Tachara palace of Darius I at Persepolis, completed in 486 BC. Inspired by this precedent, it was revived by Ardashir I, the founder of the Sasanian dynasty.
The cavetto took the place of the Greek cymatium in many Etruscan temples painted with vertical "tongue" patterns, combined with the distinctive "Etruscan round moulding" painted with scales. This emphasis on the cavetto was different from its role in mature Ancient Greek architecture, where cavetto elements were small and subordinated to vertical elements, setting the style for the subsequent Western classical tradition. An cavetto section is decorated, in Gothic architecture smothering the shape beneath. In general the Greeks made much more use of the cyma moulding, where a cavetto and ovolo were placed one above the other to produce a "S" shape. There are two forms, depending on which curve is uppermost: in the cyma recta the cavetto is on top, in the cyma reversa the ovolo. A cavetto alone was sometimes employed in the place of the cymatium of a cornice, as in the Doric order of the Theatre of Marcellus in Rome, one of the standard models for revived classical architecture from the Renaissance onwards.
But small cavetto mouldings were normal at various places, including integrated ones, not distinguished as a distinct zone by lines or borders, at the bottom of the shaft of columns, beginning the transition to the wider base. These are called an apophyge, or "concave sweep". Claude Perrault, the architect of Louis XIV's rebuilding of the Louvre Palace, explained in his architectural textbook Ordonnance for the five kinds of columns after the method of the Ancients why he had replaced a cavetto with a cyma in his illustration of the Doric capital: "a cavetto is not as strong and is more broken than the other molding". In plates and other flattish shapes, cavetto is used for the curving area linking the base and the rim; this is the case whether the rim is a broad flat surface, or the edge of the cavetto. The term refers to the top surface of the vessel; the cavetto is often left undecorated, but may have decoration of a different sort from the middle or a flat rim, the term is used when it is necessary to describe this.
In complicated pottery shapes, where the normal vocabulary of mouldings is appropriate, cavetto may be used in that sense for any concave curving section. In the terminology of archaeology relating to pottery, a cavetto zone or cavetto is a "sharp concavity encircling the body of a vessel", a "deep but narrow neck", both used in relation to upright vessels for storing or cooking food. Gibson, Alex M. Prehistoric Pottery for the Archaeologist, 1997, A&C Black, ISBN 071851954X, 9780718519544, google books Perrault, Ordonnance for the Five Kinds of Columns after the Method of the Ancients, translated by Indra Kagis McEwenand and edited by Alberto Perez-Gomez, 1996, Getty Publications, ISBN 0892362324, 9780892362325, google books Summerson, The Classical Language of Architecture, 1980 edition and Hudson World of Art series, ISBN 0500201773 Winter, Nancy A. "Monumentalization of the Etruscan Round Moulding in Sixth Century BCE Central Italy", in Monumentality in Etrusca
The Doric order was one of the three orders of ancient Greek and Roman architecture. The Doric is most recognized by the simple circular capitals at the top of columns. Originating in the western Dorian region of Greece, it is the earliest and in its essence the simplest of the orders, though still with complex details in the entablature above; the Greek Doric column was fluted or smooth-surfaced, had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion, wide in early versions, but more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features unique to the Doric, the triglyph and guttae, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental; the uncommon Roman and Renaissance Doric retained these, introduced thin layers of moulding or further ornament, as well as using plain columns.
More they used versions of the Tuscan order, elaborated for nationalistic reasons by Italian Renaissance writers, in effect a simplified Doric, with un-fluted columns and a simpler entablature with no triglyphs or guttae. The Doric order was much used in Greek Revival architecture from the 18th century onwards. Since at least Vitruvius it has been customary for writers to associate the Doric with masculine virtues, it is normally the cheapest of the orders to use. When the three orders are used one above the other, it is usual for the Doric to be at the bottom, with the Ionic and the Corinthian above, the Doric, as "strongest", is used on the ground floor below another order in the storey above. In their original Greek version, Doric columns stood directly on the flat pavement of a temple without a base. With a height only four to eight times their diameter, the columns were the most squat of all the classical orders; the Parthenon has the Doric design columns. It was most popular in the Archaic Period in mainland Greece, found in Magna Graecia, as in the three temples at Paestum.
These are in the Archaic Doric, where the capitals spread wide from the column compared to Classical forms, as exemplified in the Parthenon. Pronounced features of both Greek and Roman versions of the Doric order are the alternating triglyphs and metopes; the triglyphs are decoratively grooved with two vertical grooves and represent the original wooden end-beams, which rest on the plain architrave that occupies the lower half of the entablature. Under each triglyph are peglike "stagons" or "guttae" that appear as if they were hammered in from below to stabilize the post-and-beam construction, they served to "organize" rainwater runoff from above. The spaces between the triglyphs are the "metopes", they may be left plain. The spacing of the triglyphs caused problems. A triglyph is centered above every column, with another between columns, though the Greeks felt that the corner triglyph should form the corner of the entablature, creating an inharmonious mismatch with the supporting column; the architecture followed rules of harmony.
Since the original design came from wooden temples and the triglyphs were real heads of wooden beams, every column had to bear a beam which lay across the centre of the column. Triglyphs were arranged regularly; this was regarded as the ideal solution. Changing to stone cubes instead of wooden beams required full support of the architrave load at the last column. At the first temples the final triglyph was moved, still terminating the sequence, but leaving a gap disturbing the regular order. Worse, the last triglyph was not centered with the corresponding column; that "archaic" manner was not regarded as a harmonious design. The resulting problem is called the doric corner conflict. Another approach was to apply a broader corner triglyph but was not satisfying; because the metopes are somewhat flexible in their proportions, the modular space between columns can be adjusted by the architect. The last two columns were set closer together, to give a subtle visual strengthening to the corners; that is called the "classic" solution of the corner conflict.
Triglyphs could be arranged in a harmonic manner again, the corner was terminated with a triglyph. However, final triglyph and column were not centered. There are many theories as to the origins of the Doric order in temples; the term Doric is believed to have originated from the Greek-speaking Dorian tribes. One belief is. With no hard proof and the sudden appearance of stone temples from one period after the other, this becomes speculation. Another belief is. With the Greeks being present in Ancient Egypt as soon the 7th-century BC, it is possible that Greek traders were inspired by the structure
Egg-and-dart or egg-and-tongue is an ornamental device carved in wood, stone, or plaster quarter-round ovolo mouldings, consisting of an egg-shaped object alternating with an element shaped like an arrow, anchor or dart. Egg-and-dart enrichment of the ovolo molding of the Ionic capital is found in ancient Greek architecture at the Erechtheion and was used by the Romans; the motif has been common in neoclassical architecture. Lewis, Philippa. Dictionary of Ornament. New York: Pantheon. ISBN 0-394-50931-5. Media related to Egg and dart at Wikimedia Commons
The public domain consists of all the creative works to which no exclusive intellectual property rights apply. Those rights may have been forfeited, expressly waived, or may be inapplicable; the works of William Shakespeare and Beethoven, most early silent films, are in the public domain either by virtue of their having been created before copyright existed, or by their copyright term having expired. Some works are not covered by copyright, are therefore in the public domain—among them the formulae of Newtonian physics, cooking recipes, all computer software created prior to 1974. Other works are dedicated by their authors to the public domain; the term public domain is not applied to situations where the creator of a work retains residual rights, in which case use of the work is referred to as "under license" or "with permission". As rights vary by country and jurisdiction, a work may be subject to rights in one country and be in the public domain in another; some rights depend on registrations on a country-by-country basis, the absence of registration in a particular country, if required, gives rise to public-domain status for a work in that country.
The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". Although the term "domain" did not come into use until the mid-18th century, the concept "can be traced back to the ancient Roman Law, as a preset system included in the property right system." The Romans had a large proprietary rights system where they defined "many things that cannot be owned" as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as things not yet appropriated; the term res communes was defined as "things that could be enjoyed by mankind, such as air and ocean." The term res publicae referred to things that were shared by all citizens, the term res universitatis meant things that were owned by the municipalities of Rome. When looking at it from a historical perspective, one could say the construction of the idea of "public domain" sprouted from the concepts of res communes, res publicae, res universitatis in early Roman law.
When the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by French jurists in the 18th century. Instead of "public domain", they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law; the phrase "fall in the public domain" can be traced to mid-19th century France to describe the end of copyright term. The French poet Alfred de Vigny equated the expiration of copyright with a work falling "into the sink hole of public domain" and if the public domain receives any attention from intellectual property lawyers it is still treated as little more than that, left when intellectual property rights, such as copyright and trademarks, expire or are abandoned. In this historical context Paul Torremans describes copyright as a, "little coral reef of private right jutting up from the ocean of the public domain." Copyright law differs by country, the American legal scholar Pamela Samuelson has described the public domain as being "different sizes at different times in different countries".
Definitions of the boundaries of the public domain in relation to copyright, or intellectual property more regard the public domain as a negative space. According to James Boyle this definition underlines common usage of the term public domain and equates the public domain to public property and works in copyright to private property. However, the usage of the term public domain can be more granular, including for example uses of works in copyright permitted by copyright exceptions; such a definition regards work in copyright as private property subject to fair-use rights and limitation on ownership. A conceptual definition comes from Lange, who focused on what the public domain should be: "it should be a place of sanctuary for individual creative expression, a sanctuary conferring affirmative protection against the forces of private appropriation that threatened such expression". Patterson and Lindberg described the public domain not as a "territory", but rather as a concept: "here are certain materials – the air we breathe, rain, life, thoughts, ideas, numbers – not subject to private ownership.
The materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival." The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". A public-domain book is a book with no copyright, a book, created without a license, or a book where its copyrights expired or have been forfeited. In most countries the term of protection of copyright lasts until January first, 70 years after the death of the latest living author; the longest copyright term is in Mexico, which has life plus 100 years for all deaths since July 1928. A notable exception is the United States, where every book and tale published prior to 1924 is in the public domain.
Classical architecture denotes architecture, more or less consciously derived from the principles of Greek and Roman architecture of classical antiquity, or sometimes more from the works of Vitruvius. Different styles of classical architecture have arguably existed since the Carolingian Renaissance, prominently since the Italian Renaissance. Although classical styles of architecture can vary they can in general all be said to draw on a common "vocabulary" of decorative and constructive elements. In much of the Western world, different classical architectural styles have dominated the history of architecture from the Renaissance until the second world war, though it continues to inform many architects to this day; the term "classical architecture" applies to any mode of architecture that has evolved to a refined state, such as classical Chinese architecture, or classical Mayan architecture. It can refer to any architecture that employs classical aesthetic philosophy; the term might be used differently from "traditional" or "vernacular architecture", although it can share underlying axioms with it.
For contemporary buildings following authentic classical principles, the term New Classical Architecture may be used. Classical architecture is derived from the architecture of ancient ancient Rome. With a collapse of the western part of the Roman empire, the architectural traditions of the Roman empire ceased to be practised in large parts of western Europe. In the Byzantine Empire, the ancient ways of building lived on but soon developed into a distinct Byzantine style; the first conscious efforts to bring back the disused language of form of classical antiquity into Western architecture can be traced to the Carolingian Renaissance of the late 8th and 9th centuries. The gatehouse of Lorsch Abbey, in present-day Germany thus displays a system of alternating attached columns and arches which could be an direct paraphrase of e.g. that of the Colosseum in Rome. Byzantine architecture, just as Romanesque and to some extent Gothic architecture, can incorporate classical elements and details but do not to the same degree reflect a conscious effort to draw upon the architectural traditions of antiquity.
In general, they are not considered classical archerchitectural styles in a strict sense. During the Italian renaissance and with the demise of Gothic style, major efforts were made by architects such as Leon Battista Alberti, Sebastiano Serlio and Giacomo Barozzi da Vignola to revive the language of architecture of first and foremost ancient Rome; this was done in part through the study of the ancient Roman architectural treatise De architectura by Vitruvius, to some extent by studying the actual remains of ancient Roman buildings in Italy. Nonetheless, the classical architecture of the Renaissance from the outset represents a specific interpretation of the classical ideas. In a building like the Ospedale degli Innocenti in Florence by Filippo Brunelleschi, one of the earliest Renaissance buildings, the treatment of the columns for example has no direct antecedent in ancient Roman architecture. During this time period, the study of ancient architecture developed into the architectural theory of classical architecture.
Most of the styles originating in post-renaissance Europe can be described as classical architecture. This broad use of the term is employed by Sir John Summerson in The Classical Language of Architecture; the elements of classical architecture have been applied in radically different architectural contexts than those for which they were developed, however. For example, Baroque or Rococo architecture are styles which, although classical at root, display an architectural language much in their own right. During these periods, architectural theory still referred to classical ideas but rather less sincerely than during the Renaissance; as a reaction to late baroque and rococo forms, architectural theorists from circa 1750 through what became known as Neoclassicism again consciously and earnestly attempted to emulate antiquity, supported by recent developments in Classical archaeology and a desire for an architecture based on clear rules and rationality. Claude Perrault, Marc-Antoine Laugier and Carlo Lodoli were among the first theorists of neoclassicism, while Étienne-Louis Boullée, Claude Nicolas Ledoux, Friedrich Gilly and John Soane were among the more radical and influential.
Neoclassical architecture held a strong position on the architectural scene c. 1750–1850. The competing neo-Gothic style however rose to popularity during the early 1800s, the part the 19th century was characterised by a variety of styles, some of them only or not at all related to classicism, eclecticism. Although classical architecture continued to play an important role and for periods of time at least locally dominated the architectural scene, as exemplified by the "Nordic Classicism" during the 1920s, classical architecture in its stricter form never regained its former dominance. With the advent of Modernism during the early 20th century, classical architecture arguably completely ceased to be practised; as noted above, classical styles of architecture dominated Western architecture for a long time from the Renaissance until the advent of Modernism. That is to say, that classical antiquity at least in theory was considered the prime s
Architecture is both the process and the product of planning and constructing buildings or any other structures. Architectural works, in the material form of buildings, are perceived as cultural symbols and as works of art. Historical civilizations are identified with their surviving architectural achievements. Architecture is both the process and the product of planning and constructing buildings and other physical structures. Architecture can mean: A general term to describe other physical structures; the art and science of designing buildings and nonbuilding structures. The style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure. Knowledge of art, science and humanity; the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering professional services in connection with the design and construction of buildings, or built environments.
The earliest surviving written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century AD. According to Vitruvius, a good building should satisfy the three principles of firmitas, venustas known by the original translation – firmness and delight. An equivalent in modern English would be: Durability – a building should stand up robustly and remain in good condition. Utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing. According to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty as a matter of proportion, although ornament played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean; the most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, was based on universal, recognisable truths.
The notion of style in the arts was not developed until the 16th century, with the writing of Vasari: by the 18th century, his Lives of the Most Excellent Painters and Architects had been translated into Italian, French and English. In the early 19th century, Augustus Welby Northmore Pugin wrote Contrasts that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only "true Christian form of architecture." The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849, was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by men... that the sight of them" contributes "to his mental health and pleasure". For Ruskin, the aesthetic was of overriding significance, his work goes on to state that a building is not a work of architecture unless it is in some way "adorned".
For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the least. On the difference between the ideals of architecture and mere construction, the renowned 20th-century architect Le Corbusier wrote: "You employ stone and concrete, with these materials you build houses and palaces:, construction. Ingenuity is at work, but you touch my heart, you do me good. I am happy and I say: This is beautiful; that is Architecture". Le Corbusier's contemporary Ludwig Mies van der Rohe said "Architecture starts when you put two bricks together. There it begins." The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: "Form follows function". While the notion that structural and aesthetic considerations should be subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility". "Function" came to be seen as encompassing all criteria of the use and enjoyment of a building, not only practical but aesthetic and cultural.
Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.' To restrict the meaning of formalism to art for art's sake is not only reactionary. Among the philosophies that have influenced modern architects and their approach to building design are rationalism, structuralism, poststructuralism, phenomenology. In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability, hence sustainable architecture. To satisfy the contemporary ethos a building should be constructed in a manner, environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling and waste management and lighting
Wood carving is a form of woodworking by means of a cutting tool in one hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object. The phrase may refer to the finished product, from individual sculptures to hand-worked mouldings composing part of a tracery; the making of sculpture in wood has been widely practised, but survives much less well than the other main materials such as stone and bronze, as it is vulnerable to decay, insect damage, fire. It therefore forms an important hidden element in the art history of many cultures. Outdoor wood sculptures do not last long in most parts of the world, so it is still unknown how the totem pole tradition developed. Many of the most important sculptures of China and Japan, in particular, are in wood, so are the great majority of African sculpture and that of Oceania and other regions. Wood is light and can take fine detail so it is suitable for masks and other sculpture intended to be worn or carried.
It is much easier to work on than stone. Some of the finest extant examples of early European wood carving are from the Middle Ages in Germany, Russia and France, where the typical themes of that era were Christian iconography. In England, many complete examples remain from the 16th and 17th century, where oak was the preferred medium. In the fall of 2018, after the presence of representatives in Iran, abadeh was chosen for first woodcarving city. Nickname of abadeh is the city of wood carving Chip carving Relief carving Scandinavian flat-plane Caricature carving Lovespoon Treen Whittling Chainsaw carving Pattern, Detailing and Smoothening the carving knife: a specialized knife used to pare and smooth wood; the gouge: a tool with a curved cutting edge used in a variety of forms and sizes for carving hollows and sweeping curves. The coping saw: a small saw, used to cut off chunks of wood at once; the chisel: large and small, whose straight cutting edge is used for lines and cleaning up flat surfaces.
The V-tool: used for parting, in certain classes of flat work for emphasizing lines. The U-Gauge: a specialized deep gouge with a U-shaped cutting edge. Sharpening equipment, such as various stones and a strop: necessary for maintaining edges. A special screw for fixing work to the workbench, a mallet, complete the carvers kit, though other tools, both specialized and adapted, are used, such as a router for bringing grounds to a uniform level, bent gouges and bent chisels for cutting hollows too deep for the ordinary tool; the nature of the wood being carved limits the scope of the carver in that wood is not strong in all directions: it is an anisotropic material. The direction in which wood is strongest is called "grain", it is smart to arrange the more delicate parts of a design along the grain instead of across it. However, a "line of best fit" is instead employed, since a design may have multiple weak points in different directions, or orientation of these along the grain would necessitate carving detail on end grain.
Carving blanks are sometimes assembled, as with carousel horses, out of many smaller boards, in this way, one can orient different areas of a carving in the most logical way, both for the carving process and for durability. Less this same principle is used in solid pieces of wood, where the fork of two branches is utilized for its divergent grain, or a branch off of a larger log is carved into a beak; the failure to appreciate these primary rules may be seen in damaged work, when it will be noticed that, whereas tendrils, tips of birds beaks, etc. arranged across the grain have been broken away, similar details designed more in harmony with the growth of the wood and not too undercut remain intact. The two most common woods used for carving in North America are basswood and tupelo. Chestnut, oak, American walnut and teak are very good woods. Decoration, to be painted and of not too delicate a nature is carved in pine, soft and inexpensive. A wood carver begins a new carving by selecting a chunk of wood the approximate size and shape of the figure he or she wishes to create or if the carving is to be large, several pieces of wood may be laminated together to create the required size.
The type of wood is important. Hardwoods have greater luster and longevity. Softer woods are more prone to damage. Any wood can be carved but they all have different qualities and characteristics; the choice will depend on the requirements of carving being done: for example, a detailed figure would need a wood with a fine grain and little figure as a strong figure can interfere with'reading' fine detail. Once the sculptor has selected their wood, he or she begins a general shaping process using gouges of various sizes; the gouge is a curved blade. For harder woods, the sculptor may use gouges sharpened with stronger bevels, about 35 degrees, a mallet similar to a stone carver's; the terms gouge and chisel are open to confusion. A gouge is a tool with a curved cross-section and a chisel is a tool with a flat cross-section. However, professional carvers tend to refer to them all as'ch