abpl90267 development of western architecture...porta aurea, or golden gate, constantinople, c5th...
TRANSCRIPT
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ABPL90267 Development of Western Architecture
Christianity & regionalisation
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COMMONWEALTH OF AUSTRALIACopyright Regulations 1969
Warning
This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part
VB of the Copyright Act 1968 (the Act).
The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection
under the Act.
do not remove this notice
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the ancient world in AD 420Colin McEvedy, The Penguin Atlas of
Medieval History(Harmondsworth [Middlesex] 1966 [1961]), p 19
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Constantinople
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ConstantinopleConstantinople, ærial view, c 1600
Georg Braun et al [eds], Civitates Orbis Terrarum (6 vols, 1572-1679)
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ConstantinopleConstantinople, ærial view, c 1600
Georg Braun et al [eds], Civitates Orbis Terrarum (6 vols, 1572-1679)
EUROPE
ASIA
Sea of Marmora
GoldenHorn
to the Black Sea
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plan of ConstantinopleNorman Davies, Europe (London
1997 [1996]), p 207
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Aqueduct of Valens, Constantinople, C4thMiles Lewis
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city walls, Constantinople, C5th & laterMiles Lewis
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Porta Aurea, or Golden Gate,
Constantinople, C5th
MUAS 15,939
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some regions
North AfricaSyria
Asia Minor Greece & the Balkans
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North Africathe inscribed apse
the double-ended basilicathe triple arched screen
the cryptdouble aisles
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detail of the Hunt Mosaic, Djemila Museum, AlgeriaMiles Lewis
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mosaic of buildings, Tebessa
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church and monastery at Tebessa, Algeria, plan, from GsellR de Lasteyrie, l’Architecture Religieuse en France à l’Époque Romane
(2nd ed, August Picard, Paris 1929 [1911]), p 31
atrium &cantharus
projecting chancelenclosure and altar
in the nave
triplearchedscreen
inscribedapse with
raised floor
side chambers
later ?martyrium
later stables
monks’cells
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nave of the basilca at Tebessa, C4thMiles Lewis
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chancel of the basilca at Tebessa, C4thMiles Lewis
columns of the arched screen
raised apse floor
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nave ordonnance
of the basilca at Tebessa,
C4th
Miles Lewis
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traces of the chancel rail, TebessaMiles Lewis
grooved base forthe chancel rail
groove wherethe chancel railreturns along
the nave arcade
grooves to receive the plutei
or panels ofthe chancel rail
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cathedral church of St Reparatus, Orléansville, Algeria, dedicated 324
André Grabar, The Beginnings of Christian Art (London 1967 (1966), p183
original eastern apse,inscribed and with
rudimentary side chambers
added western apse,similar to the other,
but with a raised floorand small crypt below
doubleaisles
triplearchedscreen
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basilica reconstructed on the basis of a mosaic at Tabarka, c 400Richard Krautheimer, Early Christian and Byzantine Architecture (Harmondsworth [Middlesex] 1965), p 142
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Church B, Djemila, C4th, looking eastMiles Lewis
column base ofarched screen
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column base
raised apse floorChurch B,
Djemila, C4th, transverse
view near the east end
Miles Lewis
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Church B, Djemila, C4th,
the crypt:western part and
eastern parts
Miles Lewis
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the necropolis and church of St Salsa, Tipasa, AlgeriaM T Redjel, Tipasa: Aelia Tipasensis (Aŕaja Editions, Constantine 2011), p 59
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plan of the church & chapel of St Salsa, Tipasa, AlgeriaStéphane Gsell, Proménades Archéologiques aux Environs d'Alger (Société
d’Édition “Les Belles Lettres”, Paris 1926), p 125
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St Salsa, Tipasa, Algeria, view
along the south aisle towards the gallery staircase
and narthex
Miles Lewis
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west elevation and cross-section of St Salsa, Tipasa, AlgeriaStéphane Gsell, Proménades Archéologiques aux Environs d'Alger
(Société d’Édition “Les Belles Lettres”, Paris 1926), p 131
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St Salsa, Tipasa, Algeria, the apseMiles Lewis
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St Salsa, Tipasa, Algeria, north corner of
the apse
Miles Lewis
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the Great Basilca, Tipasa, looking north-west across the interiorMiles Lewis
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the basilica complex,
Tipasa, Algeria
Stéphane Gsell, Les Monuments Antiques de l’Algérie (2 vols,
Hachette, Paris 1901), II,p 318
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cathedra and synthronon in the apse of the basilica at Hippo, Algeria
Miles Lewis
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cathedra in the apse of the basilica at Hippo, Algeria
Miles Lewis
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Northern Syriasouth courtyard; cistern or fountain; two south doors; central bema; iconostasis
Church and villa at Qirkbizé, isometric view, with the adjoining villa, and
cutaway view of the churchGeorges Tchalenko, Villages Antiques de la Syrie du Nord : le Massif du Belus à l'Époque Romaine(3 vols,
Paris 1953), II, pl civ; pl x, 1
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North Syrian sanctuary plans, C5tth-6th, showing the development of the inscribed apse and side chambers
T F Mathews, The Early Churches of Constantinople: Architecture and Liturgy(University Park [Pennsylvania] 1971), p 106
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Temple of Zeus Olbius, Uzunçaburc, Turkey, c 300-200 BCMiles Lewis
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Temple of Zeus Olbius, Uzunçaburc, Turkey,
c 300-200 BCconverted to a church
?AD C6th
view & plan
Miles LewisKeil & Wilhelm, Monumentae
Asia Minoris Antiquae (), III, p 49
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St John Studios, Istanbul, 463Miles Lewis
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St John Studios, Istanbul, 463: view & plan
Miles Lewis; Stewart, Early Christian, Byzantine and Romanesque, p 33
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St John Studios, east end: plan of the crypt and apse; detail of the crypt
Thomas F Mathews, The Early Churches of Constantinople: Architecture and Liturgy (University Park [Pennsylvania] 1971), p 26
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St John Studios: detail of wall entablatureMiles Lewis
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Theotokos in Chalkoprateia, Istanbul, before
450, plan & section of the
crypt
Mathews, Early Churches of
Constantinople, p 28
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Metropolitan Church, Nessebar, Bulgaria, C5th-6th
Miles Lewis
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Metropolitan Church, Nessebar
plan, apse exterior, synthronon
Velizar Velkov, Nessebur (Sofia 1995 [1989]), p 39
Miles Lewis
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Hagios Demetrios, Salonika, late C5thEdition Photo Lykides, Thessaloniki, no 1
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Hagios Demetrios, Salonika, late C5th
in 1917, after the fire (looking west)
as reconstructed
R J Mainstone, Hagia Sophia: Architecture,
Structure and liturgy of Justinian's Great Church
(London 1997 [1988]), p 147 . Edition Photo Lykides,
Thessaloniki, no 1
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the Latin & Greek basilicasMiles Lewis
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St Peter’s, Rome (Latin)H Studios, Constantinople (Hellenistic)
in the Latin basilica:
1. the plan is (at first) occidented, to the west, rather than oriented to the east
2. the atrium contains a fountain or cantharus for ritual ablutions before entering the building
3. there is a porch, formed usually by one side of the atrium, whereas in the Greek basilica there is a narthex, more open to the interior than the exterior
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in the Latin basilica
4. the lighting is through the gable end, which may be square or pitched, and usually through three windows
St Peter’s, Rome, reconstruction (note the atrium,
cantharus and porch)MUAS 15,439
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Sta Maria Maggiore, Rome(Latin)
Hagios Demetrios, Salonika(Greek)
in the Latin basilica
5. there is commonly a colonnade dividing off the aisles, whereas in the east it is always
(except in the Studios basilica) an arcade.
6. there is a triumphal archbetween the nave and the apse
7. there is a raised platform or bema for the officiating clergy
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St John Lateran, foundationsSt Peter’s, Rome, reconstruction
Sta Maria Maggiore(Latin basilicas)
in the Latin basiilica:8. there might be some sort of transverse
space at the sanctuary end, but never (until much later) a true transept: nor
was there in the Greek basilica
9. the altar was commonly portable -probably set up in the nave at first, but later it retreated to the apse, and was fenced off with a marble chancel rail
10. beneath the altar was commonly a confessio, or repository for holy relics.
Mancinelli, Catacombs and Basilicas, p 11 MUAS 10,278
James Fergusson, The Illustrated Handbook of Architecture (2 vols, London 1855), II, p 490
early altarlocation
chancel rail
later altarlocation
(confessio below)
trans
vers
e sp
ace
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in the Latin basilica11. at the back of the apse was the Bishop's throne, or cathedra (hence the word
cathedral): the Greek basilica had a curved seat for the clergy, or synthronon, with the cathedra at the centre.
12. the apse was semicircular and domed. The Greek one was semicircular internally but polygonal externally, and was timber roofed
13. the whole plan was long rather than square in proportion
Latin & Greek basilicasMiles Lewis
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S Paolo fuori le MuraRome
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S Paolo fuori le Mura, Rome
plan of the original church, c 330, and part
of the basilica of 386
Stewart, Early Christian &c Architecture, p 20
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S Paolo fuori le Mura, basilica of
386, plan and section
Stewart, Early Christian &c Architecture, p 25
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S Paolo fuori le Mura, an 18th century view
Emil Mâle [translated David Buxton], The Early Churches of Rome (London 1960), p 74
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S Paolo fuori le Mura, view in 1823 by L RossiniKrautheimer, Early Christian and Byzantine Architecture, pl 14
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S Paolo fuori le Mura, modern viewFabrizio Mancinelli, Catacombs and Basilicas: the Early Christians in Rome (Florence 1981), p 52
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S Paolo fuori le Mura: the modern remains of the mosaic of the triumphal archWalter Oakeshott, The Mosaics of Rome from the Third to the Fourteenth Century (London 1967), pl 185
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from baths to baptisteriesbaths
Forum Baths, Pompeii, C2nd BCLesser Baths at Hadrian's Villa, Tivoli, AD 118-134
baptisteriesLateran Baptistery, Rome, c 316 and 432-40
S Giovanni alle Fonte, Milan, end of C4thMarseille, France, c 400
Fréjus, France, c 400Mariana, Corsica, early C5th
Albenga, Italy, C5thothers at Albenga, Ravenna (Arian), Ravenna (Orthodox),
Lomello, Como, Novara, Riez,
other structuresMausoleum of Diocletian, Spalato, AD 284
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Forum Baths, Pompeii, C2nd BC, interior detail & planLesser Baths at Hadrian's Villa, Tivoli, AD 118-134
E H Swift, Roman Sources of Christian Art (New York 1951), Miles Lewis
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octagonal room, Baths of Caracalla, Rome, 212-216
R de Lasteyrie, l’Architecture Religieuse en France à l’Époque Romane (2nd ed, August Picard, Paris 1929 [1911]), p 125
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Lateran Baptistery, Rome, c 316 and 432-40Matilda Webb, The Churches and Catacombs of Early Christian Rome: a Comprehensive Guide (Sussex Academic Press, Brighton 2001), p 46.
Sacred Destinations web site <http://www.sacred-destinations.com/italy/rome.htm> 'by the author' unspecified
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the Mausoleum of Diocletian, Spalato: plan & elevation, AD 284the Lateran Baptistery, Rome
Robert Adam, Ruins of the Palace of the emperor Diocletian at Spalatro in Dalmatia (London 1764); Fine Arts c10097
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excavations of the Bapistery of S Giovanni al Fonte, Milan, end of C4th
Duomo di Milano, &c (Milan, no date [c 1974])
the Mausoleum of Diocletian, Spalato: plan
& elevation, AD 284Robert Adam, Ruins of the
Palace of the emperor Diocletian at Spalatro in Dalmatia (London
1764)
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remains of the font in the baptistery, MilanMiles Lewis
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Baptistery of St Mary, Ephesus, Turkey, c 400: sectionClive Foss & Paul Magdalino, Rome and Byzantium (Elsevier-Phaidon, Oxford 1977), p 75
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font in the baptistery of the Great Basilica, Tipasa, AlgeriaMiles Lewis
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font in the baptistery at Qalat Si’man, SyriaMiles Lewis
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fonts in the St Vitalis complex, Sbeitla, Tunisia, mainly C6th
Miles Lewis
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the Demna (Cap Bon) Baptistery: tiered immersion font, C6th, now in the Bardo Museum, Tunis
Miles Lewis
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octagonal & similar baptisteries in
northern Italy & southern France
AlbengaNeversComoMilan
Ravenna (Orthodox)Ravenna (Arian)
LomelloNovara
S W Kostof, The Orthodox Baptistery of Ravenna (New
Haven [Connecticut] 1965), fig 12
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baptisteries at Marseille, France, c 400, and Mariana, Corsica, early C5th
X B i Altet [translated Lory Frankel], The Early Middle Ages from Late Antiquity to A.D. 1000 (Köln 1997), pp 58-9
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square & other variants on the octagonal baptistery form
RiezFréjus
Aix-en-ProvenceGrado
Riva San VitaleAquileiaMarseille
Kostof, The Orthodox Baptistery, fig 138Jean Lassus, The Early Christian and
Byzantine World, p 88
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locations of some major baptisteriesMiles Lewis
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Baptistery at Albenga, C5th, and detail of vault mosaic in the apse, C5th or C6th
Jean Hubert, Jean Porcher, & W F Volbach, Europe in the Dark Ages (London 1969), pls 5, 6
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window screen & overdoor, baptistery of
Albenga
R de Lasteyrie, l’Architecture Religieuse en France à l’Époque Romane (2nd ed, August Picard,
Paris 1929 [1911]), pp 194-5
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Baptistery at Fréjus, France, c 400: plan & section
Hubert, Europe in the Dark Ages, pl 322
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Baptistery at Fréjus
interior viewdetail of font
dome from below
Altet, The Early Middle Ages, p 61Miles Lewis
Hubert, Europe in the Dark Ages, pl 2
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baptistery, Deir Seta, Syria, from de VogüéR de Lasteyrie, l’Architecture Religieuse en France à l’Époque
Romane (2nd ed, August Picard, Paris 1929 [1911]), p 125
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cruciform martyria
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Martyrium of St Babylas, Antioch-Kaiuissie, c 378: plan
Richard Krautheimer & Spencer Corbett, 'The Constantinian Basilica of the Lateran', in Richard Krautheimer,
Studies in Early Christian, Medieval, and Renaissance Art (London 1971 [New
York 1969]), p 28
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stylite saint, from an inscription at Qalbloze
Georges Tchalenko, Villages Antiques de la Syrie du Nord: le Massif du Belus à l'Époque
Romaine(3 vols, Paris 1953), III, fig 18
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Martyrium church of St Simeon Stylites, Qalat Seman, Syria, c 460-80
view through north arm of the church reconstruction of the complex
Miles LewisLassus, Early Christian and Byzantine World, p 46
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St Simeon Stylitesplan of church
plan of church complex
Krautheimer, Early Christian and Byzantine Architecture, p 112
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St Simeon Stylitestwo reconstructions of the
church
Krautheimer, Early Christian and Byzantine Architecture, p 112
William Macdonald, Early Christian and Byzantine Architecture (London 1968 [New
York 1962]), p 45
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St Simeon Stylites: the nave interior
and apse exterior
ordonnance
Bodo Cichy, The Great Ages of Architecture:
from Ancient Greece to the Present Day
(Oldbourne Press, London 1964 [1959]), p
109
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RULES OF THE CLASSICAL LANGUAGE(revisited & expanded)
1. the face of the entablature is roughly above the outermost edge of the column
2. the beam or lintel is supported by round columns, not by square piers, or by sections of wall, or anything else
3. the arch is a hole in a wall, and if two archways are next to each other, the piece in between is a piece of wall and is therefore rectangular in plan - that is, it is a
pier, not a column
4. the pier and the arch, being both parts of the same wall, must be of the same thickness back to front
5. the springing of an arcade must be of the same width as the pier (which is only logical when the openings are construed as being holes in a wall)
6. a beam or lintel, itself supported on columns, can support a wall (or pediment), and a wall is allowed to contain an arched opening, so you can have an arch
above columns, provided that there is a lintel in between
7. if you have two arches next to each other you will rest them on a little cube of entablature on top of a column (the name for this is impost block)
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restoration of the order at the Temple of Zeus, Olympia, c 460
Robertson, Greek and Roman Architecture, p 40
rule 1the face of the entablature is roughly above the outermost
edge of the column
this implies that the beam is the same width as the column
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rule 2the beam or lintel is supported by round
columns, not by square piers, or by sections of wall, or anything else
Colosseum, Rome, AD 72-80
wall elevation and cutaway
view
Trewin Copplestone [ed], World
Architecture (London 1963), p 59
rule 3the arch is a hole in a wall, and if two archways are next to each other, the
piece in between is a piece of wall, and is therefore rectangular in plan - that is,
it is a pier, not a column
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rule 4the pier and the arch, being both parts of the same wall, must be of the same
thickness back to frontrule 5
the springing of an arcade must be of the same width as the pier (which is only logical when the openings are construed as being holes in a wall)
HadrianicBaths, Ephesus, C2nd AD. Miles Lewis
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Roman temple at Termessus in
Pisidia, AD C2nd
Robertson, Greek and Roman Architecture, p
228
rule 6a beam or lintel, itself supported on columns, can support a wall (or pediment), and a
wall is allowed to contain an arched opening, so you can have an arch above columns, provided that there is a lintel in between
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rule 7if you have two arches next to each other you will rest them on a little cube of entablature on top of a column (the name for this is
impost block)
(this rule is only vacuously true – that is, there is no actual example of an impost block in classical Roman times)
Santo Spirito, Florence, by Filippo Brunelleschi, 1428-70details of arcading & impost block
Giovanni Fanelli, Brunelleschi (Florence 1985 [1980]), p 71Miles Lewis
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approaching the impost block: (1) a short section of entablature
Santa Costanza, RomePorticus of Pompey, Rome, AD c 285, from an anonymous C16th drawing
Marco Bussagli [ed], Rome: Art & Architecture (Königswinter [Germany] 2004), p 167Bates Lowry, Renaissance Architecture (London 1968 [New York 1962]), fig 3
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approaching the impost block (2)a projecting section of entablature (or ressault)
Severan Basilica, Lepcis Magna, dedicated AD 216, detail of southern apse Pantheon, Rome, AD c 120-130: capital
Elizabeth Feltham Talbot Hamlin, Forms and Functions of Twentieth-Century Architecture,
I, The Elements of Building (New York 1952), p 424
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the arch and the dosseret block
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the bent-up entablature
Temple of Hadrian, Ephesus, AD c 117-125view & reconstruction
Miles LewisRamage, Roman Art, p 221
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Temple of Dushara at Si, or Seea, Syria, AD late C1st
Lyttelton, Baroque Architecture in Classical Antiquity, p 67
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the Canopus, Hadrian's Villa, Tivoli, AD 124
MUAS 10,352
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Peristyle, Palace of Diocletian, Split, c 300-306
view, detail of the arcading, elevation of the side as in c 300
MUAS 12,614Country Life, CLIV, 3984 (1 November 1973), p 1330
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Palace of Diocletian, Split, c 300-306, detail of the arcadingW L MacDonald, The Architecture of the Roman Empire: II an Urban Appraisal (Yale
UP, New Haven [Connecticut] 1986), p 190
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arcades of the Severan Forum, Lepcis Magna
[modern Algeria], AD C3rd
reconstructionview of components on site
Lyttleton, Baroque Architecture in Classical Antiquity, plate 5 & p 290
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House of Amor & Psyche, Ostia, c 300
MUAS 830
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Santo Stefano Rotondo, Rome, 470-483: detail of column head
and dosseret block in outer arcade
Mâle, Early Churches of Rome(London 1960), p 74
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terminology
the texts tend to use these terms interchangeablybut I recommend
dosseret blockas the general term for a piece inserted between the column
capital and the arch springing
impost blockfor the specific case where it takes the form of a classical
entablature
pulvin or pulvinofor the specific case where it is cushion-shaped
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the SixtineRenaissance
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the Sixtine RenaissanceSanta Maria Maggiore, Rome, 432-440, ceiling c 1500
Scala 7622 (©1972)
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Sta Maria Maggiore, interior view & reconstruction of the
ordonnance (with the mosaic zone shaded)
Lassus, Early Christian and Byzantine World, p 28Walter Oakeshott, The Mosaics of Rome
(Thames & Hudson, London 1967)
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Santa Maria Maggiorereconstruction
Richard Krautheimer, Rome: Profile of a City, 312-1308 (Princeton [New Jersey] 1980), p 48
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