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| In classical architecture, a metope is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order. |
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| The purpose of any buttress is to resist the lateral forces pushing a wall outwards |
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| The Doric order was one of the three orders or organizational systems of ancient Greek or classical architecture. their vertical shafts were fluted with 20 parallel concave grooves; and they were topped by a smooth capital |
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| painting medium in which pigment is mixed with water-soluble glutinous materials such as size or egg yolk. |
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| A gallery or arcade above the arches of the nave, choir, and transepts of a church. |
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| The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform; The cap is usually enriched with egg-and-dart. |
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| In Ancient Greek and Roman temples the cella is a room at the centre of the building, usually containing a cult image or statue representing the particular deity venerated in the temple. |
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| is the top step of the crepidoma, the stepped platform on which colonnades of temple columns are placed (it is the floor of the temple). |
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| Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze, |
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| forms the topmost member of a column (or pilaster). |
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| The central part of a church building, intended to accommodate most of the congregation. |
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| in a cross-shaped church) Either of the two parts forming the arms of the cross shape, projecting at right angles from the nave. |
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| Architecture. a portion of an interior rising above adjacent rooftops and having windows admitting daylight to the interior. |
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| the part of a cruciform church east of the crossing. |
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| Term used in true fresco painting for the area of wet plaster that could be painted in a single day's work. |
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Raphael, The Vision of a Knight, ca. 1504
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Raphael, Marriage of the Virgin, ca. 1504 |
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Raphael, La Belle Jardinière, 1507 |
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Raphael, Madonna of the Meadow, c. 1505, |
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Raphael, Portrait of Maddelena Doni, c. 1506 |
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Sistine Madonna 1513-1514 Raphael
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Raphael, Disputa, 1508-1511, (fresco), Stanza della Segnatura, Vatican Palace
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Raphael, The School of Athens, ca. 1509-11, Stanza della Segnatura, Papal Apartments, Vatican
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MichaelAngleo Pieta, 1498-99 |
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Michelangelo, Doni Tondo, 1503-04
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Sistine Chapel, Ceiling frescoes 1508-12 |
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David, MichaelAngelo 1501-1504 |
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Tomb of Guiuliano 1526-1531 MichaelAnglo |
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Bernini, Gian Lorenzo. 1632.
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Pluto and Persephone, front view, 1622-1625 |
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Apollo and Daphne 1622-1625 Bernini
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Ecstasy of Saint Teresa 1647-1652 Bernini |
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Conversion of St. Paul. Bruegel 1567 |
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Crucifixion (The Procession to Calvary)1564. Bruegel. |
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Bruegel, Hunters in the Snow , 1565
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The flight between Carnival and Lent. Bruegel. 1569. |
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Bruegel, Big Fish Eat Little Fish, 1556 |
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| is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. |
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Bust of Costanza Bonarelli
c. 1636-37 |
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1490-2: Battle of the Centaurs & Lapiths, |
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Michelangelo, Bacchus 1497 |
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| this is when one draws invisible lines that come to one point. |
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| is simply how different parts of a painting are composed together |
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| how light falls onto a figure |
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