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Description: Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the...

Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the Renaissance

Illustrations

Author

PublisherPrinceton University Press

Copyright© 1988 by Princeton University Press

https://doi.org/10.37862/aaeportal.00026.002

Stable URL: https://aaeportal.com/?id=-19487

Illustrations

1. Lion Gate, Mycenae, fourteenth century B.C. (P: Alison Frantz)

2. Parthenon, Athens, 447–431 B.C. (P: Alison Frantz)

3. Temple of Apollo, Corinth, c.540 B.C. (P: Alison Frantz)

4. Temple of Artemis, Ephesus, mid-sixth century B.C. (after Krischen)

5. Sanctuary of Olympia, plan: temples of Hera and Zeus, Philippeion, stadium, treasuries (after Dinsmoor)

6. Treasuries of Cnidos, Massilia, and Siphnos at Delphi, all sixth century B.C. (after Dinsmoor)

7. Capital from Throne of Apollo, Amyclae, later sixth century B.C. (after Koldewey)

8. Erechtheum, Athens, 421–405 B.C. (P: Alison Frantz)

9. Temple of Apollo Epikourios, Bassae, later fifth century B.C. (after Krischen)

10. Sanctuary of Epidaurus, plans of buildings of the fourth century B.C., showing arrangements of orders (Don Johnson)

11. Philippeion, Olympia, c.330 B.C. (cf. Fig. 5) (after Dörpfeld)

12. Temple of Zeus Olympius, Athens, begun 175 B.C. (P: Alison Frantz)

13. Plans of buildings of the second century B.C., showing arrangements of orders: Heroön, Pergamum; Gymnasium, Miletus; Bouleuterion, Miletus (Don Johnson)

14. Sanctuary of Athena, Pergamum: section of stoa, late third century B.C. (after Conze)

15. Aeolic capitals from (a) the Treasury of Massilia, Delphi (cf. Fig. 6); (b) the Stoa of Athena, Pergamum (after Coulton)

16. Basilica, Pompeii, interior, c.120 B.C. (P: Fototeca Unione)

17. Amphitheatre, Pompeii, c.80 B.C. (P: Fototeca Unione)

18. Temple of Fortuna Virilis and round temple by the Tiber, Rome, second and first centuries B.C. (P: author)

19. Theatre of Marcellus and Temple of Apollo Sosianus, Rome, both late first century B.C. (P: Fototeca Unione)

20. Amphitheatre, Verona, first century A.D. (P: author)

21. Arch of Titus, Rome, late first century (P: author)

22. Atrium Vestae, Rome, late first century (P: author)

23. Colosseum, Rome, after A.D. 72 (P: author)

24. Colosseum, Rome: capital from upper interior portico (P: author)

25. Capitolium, Sufetula (Sbeitla), mid-second century: rear view of three temples (P: author)

26. Capitolium, Sufetula (Sbeitla): entrance arch (P: author)

27. Arch into Forum of Augustus with temple of Mars Ultor, Rome, late first century B.C. (P: author)

28. Porta Maggiore, Rome, mid-first century A.D. (P: Neil Batcock)

29. Temple of Divus Claudius, Rome, third quarter of first century: basement (P: author)

30. Forum of Trajan, Rome, early second century: Trajan’s Column and columns of court (P: author)

31. Library of Celsus, Ephesus, c.135: façade (P: Fototeca Unione)

32. Theatre, Sabratha: scaena, late second century (P: author)

33. Amphitheatre, Thysdrus (El Djem), third century (P: author)

34. Basilica, Lepcis Magna, dedicated 216: interior of apse (P: author)

35. Transept of Old St Peter’s, Rome, 320s: drawing by Maarten van Heemskerck, National Museum, Stockholm (P: National Museum)

36. S. Costanza, Rome, c.337–350: interior (P: Marburg)

37. Lateran Baptistery, Rome, c.435: interior (P: author)

38. Lateran Baptistery, Rome: diagram of orders (Don Johnson)

39. S. Lorenzo fuori le mura, Rome, 579–590: interior (P: author)

40. S. Lorenzo fuori le mura, Rome: diagram of orders (Don Johnson)

41. S. Agnese fuori le mura, Rome, 625–638: interior (P: Marburg)

42. S. Agnese fuori le mura, Rome: diagram of orders (Don Johnson)

43. Haghia Sophia, Istanbul, 532–537: diagram of orders at gallery level (after Deichmann)

44. S. Vitale, Ravenna, c.530: capital in sanctuary (P: author)

45. Sarcophagus of Junius Bassus, died 358, St Peter’s, Rome (P: Deutsches Archäologisches Institut, Rome)

46. Porticus Deorum Consentium, Rome, 367 (foreground), with Tabularium, 78 B.C. (above and behind) (P: Fototeca Unione)

47. Palace chapel, Aachen, 792: interior (P: Marburg)

48. Chapel of the Saviour, Germigny des Près, ca. 806: interior (P: Neil Batcock)

49. St Michael, Fulda, 820–822: column in crypt (P: author)

50. St Michael, Fulda: interior (P: Marburg)

51. St Wigbert, Quedlinburg, crypt, c.930 (P: Marburg)

52. St Pantaleon, Cologne, cloister, c.930 (P: Neil Batcock)

53. St Michael, Hildesheim, 1001–33: entrance façade (after Beseler and Roggenkamp)

54. St Michael, Hildesheim: interior (P: Marburg)

55. Abbey church, St Denis, choir, 1140 (P: Marburg)

56. Sainte Chapelle, Paris, 1246–48: interior (P: Marburg)

57. Abbey gatehouse, Lorsch, c.790 (P: author)

58. Sélestat, Bibl. Mun., MS 1153 bis, fols. 35v and 36r, c.900

59. S. Prassede, Rome, Chapel of S. Zeno, c.820: (a) portal; (b) interior (P: author)

60. SS. Giovanni e Paolo, Rome: portico, c.1130 (P: author)

61. St Mark’s, Venice, after 1063: diagram of orders (Don Johnson)

62. Pisa Cathedral, west door, twelfth century (P: author)

63. S. Frediano, Lucca, after 1112: interior from baptistery (P: Marburg)

64. S. Frediano, Lucca: diagram of orders (Don Johnson)

65. S. Miniato, Florence, eleventh century and later: interior (P: Marburg)

66. S. Miniato, Florence: diagram of orders (Don Johnson)

67. Baptistery, Florence, eleventh century and later: diagram of orders (Don Johnson)

68. Baptistery, Florence: south façade (P: author)

69. Speyer Cathedral, after 1030 and c.1100: diagram of orders (Don Johnson)

70. Speyer Cathedral: aedicule in S. transept, c.1100 (P: author)

71. Giotto: Arena Chapel, Padua, c.1305: (a) Injustice, (b) Justice (P: Museo Civico, Padua)

72. Architectural settings after Giotto, Arena Chapel, Padua: (a) Nativity; (b) Last Supper; (c) Pentecost (Don Johnson)

73. Giotto: Arena Chapel, Padua: (a) Expulsion of the Money-Changers from the Temple, (b) Pentecost (P: Museo Civico, Padua)

74. S. Maria Novella, Florence, after 1279: interior (P: Marburg)

75. S. Maria Novella, Florence: diagram of orders, with detail of nave (Don Johnson)

76. S. Maria Novella, Florence, three types of capital: (a) plain Corinthian; (b) rich Corinthian; (c) Gothic (P: author)

77. SS. Stephen and Lawrence, Castiglione Olona, after 1420: capital (P: author)

78. (a) Baptistery, Florence, eleventh century and later: gallery; (b) Brunelleschi: Barbadori Chapel, S. Felicita, Florence, c.1423 (after Battisti); (c) Donatello: Orsanmichele, c.1425, St Louis niche; (d) Masaccio: Trinità, c.1426, S. Maria Novella, Florence (after Battisti)

79. Masaccio: Pisa Altarpiece, 1426, centre panel, National Gallery, London (P: National Gallery)

80. Michelozzo and Donatello: Brancacci tomb, 1426–28, S. Angelo a Nilo, Naples (P: Marburg)

81. Michelozzo: S. Marco, Florence, after 1436: (a) sacristy detail, (b) library detail (P: author)

82. Michelozzo: S. Marco, Florence, small refectory, after 1436: detail with Domenico Ghirlandaio’s Last Supper (P: author)

83. Michelozzo: Palazzo Medici, Florence, after 1446: court (P: author)

84. Palazzo Medici, Florence: chapel detail (P: author)

85. Michelozzo: (a) Cappella del Crocefisso, S. Miniato, Florence; (b) Tempietto, Ss. Annunziata, Florence; both c.1448: diagrams of orders (Don Johnson)

86. Friedsam Annunciation, c.1440, Metropolitan Museum, New York (P: Metropolitan Museum of Art)

87. Fra Angelico: Annunciation, c.1440, S. Marco, Florence (P: Marburg)

88. Filarete: the three qualità of columns, from Cod. Magl. II, IV, 140, fol. 57v: Doric, Corinthian, Ionic

89. House plans, after Filarete: poor man, artisan, merchant, gentleman, bishop, duke (Don Johnson)

90. Filarete: (a) Merchant’s house, fol. 86r; (b) Gentleman’s house, fol. 84v

91. Filarete: (a) Bishop’s palace, fol. 66r; (b) Duke’s palace, fol. 58v

92. Francesco di Giorgio: house plans: (a) Cod. Sal. 148, fol. 17v; (b) Cod. Magl. II, I, 141, fol. 21r

93. Francesco di Giorgio: church plans, Cod. Sal. 148, fol. 13r

94. Francesco di Giorgio: column types, Cod. Magl. II, I, 141: fols. 33r and 32r details

95. Alberti: S. Francesco, Rimini, after 1450 (P: author)

96. Alberti: Palazzo Rucellai, Florence, 1450s (P: author)

97. Alberti: Rucellai Chapel, S. Pancrazio, Florence, c.1467 (after Seroux d’Agincourt)

98. Pienza, Piazza, early 1460s (P: author)

99. Pienza, Piazza: diagram of orders (Don Johnson)

100. Bernardo Rossellino: Palazzo Piccolomini, Pienza, early 1460s (P: author)

101. Giuliano da Sangallo: three orders, Cod. Senese s.iv 8, fol. 31v

102. Giuliano da Sangallo: Villa Medici, Poggio a Cajano, 1480s (P: James Austin)

103. Giuliano da Sangallo: S. Maria delle Carceri, Prato, after 1484: exterior (P: Marburg)

104. S. Maria delle Carceri, Prato: interior (P: Courtauld Institute of Art)

105. Francesco di Giorgio: plan and elevation of S. Maria del Calcinaio (1485) superimposed on his drawings of the church-man assimilation (after Millon)

106. Rome, St Peter’s, project of Nicholas V (after Urban)

107. Pienza, section of cathedral and piazza (after Cataldi et al.)

108. S. Agostino, Rome, interior, 1479–83 (P: Courtauld Institute of Art)

109. Ospedale di S. Spirito, Rome, 1474–82 (P: Courtauld Institute of Art)

110. Perugino: Charge to Peter, 1480s, Sistine Chapel, Rome (P: Musei Vaticani)

111. Botticelli: Temptation of Christ, 1480s, Sistine Chapel, Rome (P: Musei Vaticani)

112. Giovanni Mazone: Adoration, 1491, Petit Palais, Avignon: detail with Cardinal Giuliano della Rovere (P: Musées Nationaux, Paris)

113. Palazzo della Cancelleria, Rome, after 1486: courtyard (P: author)

114. S. Lorenzo in Damaso, Rome, after 1486: detail (P: author)

115. Duomo, Turin, 1490s: façade (P: author)

116. Giuliano da Sangallo: Palazzo della Rovere, Savona, 1490s: detail of façade (P: author)

117. Perugino: Adoration, 1491, Villa Albani, Rome (P: Alinari)

118. Francesco Colonna: Hypnerotomacbia Polipbili, 1499: gateway, fol. c8r

119. Quadratura of gateway in Fig. 118 (after French ed., 1546)

120. Hypnerotomacbia Polipbili: Temple of Venus, fol. n3r

121. Hypnerotomacbia Polipbili: (a) map of Insula cytherea, fol. t8r; (b) plan of shrine of Venus at its centre, fol. y8r

122. Hypnerotomacbia Polipbili: colonnade on island, fol. t6v

123. Attr. to Jacopo de’ Barbari: Luca Pacioli, 1495, Museo Nazionale di Capodimonte, Naples (P: Museo Nazionale di Capodimonte)

124. Luca Pacioli, De divina proportione, 1509: Beautiful Gate of the Temple at Jerusalem

125. Bramante: three orders from S. Maria delle Grazie, Milan, 1490s (after Förster)

126. Franchino Gaffurio, Angelicum ac divinum opus musicae, 1508: frontispiece (re-used in De harmonia, 1518)

127. Bramante: S. Maria della Pace, Rome, 1499: (a) cloister; (b) diagram of four orders (after Bruschi)

128. Cortile di S. Damaso, Vatican, c.1509–18 (P: Musei Vaticani)

129. (a) four voices of Verdelot’s motet Sancta Maria, succurre nobis, c.1510–15, as published by Lampadius (1537); (b) spiral stair, Vatican, c.1511 (after Letarouilly)

130. Leonardo da Vinci: Last Supper, 1495–98, S. Maria delle Grazie, Milan (P: Marburg)

131. (a) Bramante: S. Maria della Pace, Rome, 1499, cloister, diagrams of plan and elevation; (b) Quadratura of Fig. 130 (Don Johnson)

132. Bramante: Tempietto, S. Pietro in Montorio, Rome, after 1502 (P: Istituto Centrale, Rome)

133. Bramante: exterior of Santa Casa, Basilica della Santa Casa, Loreto, begun 1509 (P: Alinari)

134. Bramante: window of Sala Regia, Vatican, after 1504 (P: author)

135. Bramante: Palazzo Caprini, Rome, c.1510: engraving by Lafreri (P: Biblioteca Hertziana, Rome)

136. Raphael, School of Athens, Stanza della Segnatura, Vatican: (a) musical diagram of Pythagoras; (b) diagram of background architecture; (c) diagram of Archimedes (Bramante) (b and c after Bruschi)

137. Bramante: Palazzo di Giustizia, Rome, incomplete basement, c.1508 (P: author)

138. Antonio Liberi: Annunciation, after 1510, organ shutters, Basilica della Santa Casa, Loreto (P: Alinari)

139. St Peter’s, Rome, interior with remains of old basilica, 320s (foreground) and Bramante’s crossing and altar house: drawing, c.1570, Kunsthalle, Hamburg (P: Kunsthalle)

140. Diagram of Vatican Stanze (Don Johnson)

141. Raphael: Liberation of Saint Peter, Stanza d’Eliodoro, Vatican (P: Musei Vaticani)

142. Raphael: School of Athens, Stanza della Segnatura, Vatican (P: Musei Vaticani)

143. Raphael: Mass of Bolsena, Stanza d’Eliodoro, Vatican (P: Musei Vaticani)

144. Raphael: The Giving of the Pandects and Decretals, Stanza della Segnatura, Vatican (P: Musei Vaticani)

145. Raphael: Expulsion of Heliodorus, Stanza d’Eliodoro, Vatican (P: Musei Vaticani)

146. Raphael: Coronation of Charlemagne, Stanza dell’Incendio, Vatican (P: Musei Vaticani)

147. Raphael: Fire in the Borgo, Stanza dell’Incendio, Vatican (P: Musei Vaticani)

148. View of Piazza S. Pietro, Rome: drawing, F. Zuccaro, J. Paul Getty Museum, Malibu (P: J. Paul Getty Museum)

149. View of Forum, Rome: drawing, Maarten van Heemskerck

150. Marcantonio Raimondi: Nativity (upper half), engraving, British Museum (P: Warburg Institute)

151. Peruzzi: Presentation of the Virgin in the Temple, S. Maria della Pace, Rome, 1523–26 (P: Alinari)

152. Sebastiano Serlio, Book III (1540): Arch of Titus, details (from 1551 ed., fol. CVIIr)

153. Serlio, Book VII (1575): “Discussion and definition of some architectural terms” applied to Doric (from 1575 ed., p. 123)

154. Serlio, Book VII: “Discussion …” applied to Corinthian (from 1575 ed., p. 127)

155. Serlio, Book IV (1537): the five orders (from 1551 ed., fol. IIIIr)

156. Serlio, Book IV: types of rustication (from 1551 ed., fol. XVIv)

157. Serlio, Book IV: rustic Tuscan portal (from 1551 ed., fol. XIIr)

158. Serlio, Book IV: Composite capitals and bases (from 1551 ed., fol. LXIIr and LXIIIr)

159. Serlio, Book VIII: Porta Decumana, Staatsbibliothek, Munich, Cod. Icon. 190, fol. 17r (P: Staatsbibliothek)

160. Serlio, Book VIII: Roman bridge at frontier of empire, with gates towards barbarians and towards Italy, Staatsbibliothek, Munich, Cod. Icon. 190, fols. 19v and 20r (P: Staatsbibliothek)

161. Serlio, Libro Estraordinario (later Book VI) (1551): rustic portal XXVIII (from 1566 ed., fol. 30r)

162. Serlio, Libro Estraordinario: rustic portal XXIX (from 1566 ed., fol. 31r)

163. Serlio, Libro Estraordinario: rustic portal VI (from 1566 ed., fol. 8r)

164. Serlio, Book VII: Remodelling a house, Proposition Eight (from 1575 ed., p. 157)

165. Serlio, Book II (1545): Satiric scene (from 1551 ed., fol. 30v)

166. Serlio, Book II: Tragic scene (from 1551 ed., fol. 29v)

167. Serlio, Book II: Comic scene (from 1551 ed., fol. 28v)

168. Jacopo Sansovino: Mint and Library building, Piazzetta, Venice, from 1537 (P: author)

169. Jacopo Sansovino: Library building and Loggetta, Piazzetta, Venice, from 1537 (P: author)

170. Mint, Venice: detail (P: author)

171. Library building, Venice, with entries to Mint and to Library (P: author)

172. Library building, Venice, doorway to Mint (P: author)

173. Library building, Venice, doorway to Library, detail (P: author)

174. Loggetta, Venice (P: author)

175. View of Piazzetta, Venice (P: Alinari)

176. Serlio: scene based on the Piazzetta, Uffizi, Florence

177. Lorenzo Lotto: Andrea Udone, 1527, Hampton Court (P: by gracious permission of Her Majesty the Queen)

178. Titian: Presentation of the Virgin in the Temple, 1534–38, Accademia, Venice (P: Böhm)

179. Serlio, Book III (1540): frontispiece

180. Titian: Crowning with Thorns, early 1540s, Louvre, Paris (P: Musées Nationaux)

181. Titian: Ecce Homo, 1543, Kunsthistorisches Museum, Vienna (P: Kunsthistorisches Museum)

182. Titian: Charles V, 1548, Alte Pinakothek, Munich (P: Bayerische Staatsgemâldesammlungen)

183. Jacopo Sansovino: S. Francesco della Vigna, Venice, 1534 (P: author)

184. Galeazzo Alessi: S. Maria degli Angeli, Assisi, 1569 (P: author)

185. A. da Sangallo the Younger: Palazzo Baldassini, Rome, c.1520: portal (P: author)

186. A. da Sangallo the Younger and Michelangelo: Palazzo Farnese, Rome, 1517 onwards: court (P: David Hemsoll)

187. Palazzo Farnese, Rome: detail of façade (P: author)

188. Palazzo Doria Pamfili, Genoa, portal, c.1530 (P: John Shearman)

189. Palazzo Spinola (now Banco di Chiâvari), Genoa, portal, c.1565 (P: author)

190. Giulio Romano: Destruction of the Giants, Palazzo del Te, Mantua, 1530s (P: Alinari)

191. Giulio Romano: Palazzo del Te, Mantua, exterior, 1525 (P: author)

192. Ammanati: Loggia Benavides, Padua, 1540s (P: author)

193. Ammanati: Benavides tomb, Eremitani, Padua, 1540s (P: Museo Civico, Padua)

194. Fondaco dei Tedeschi, Venice, 1505–8 (P: author)

195. Palazzo dei Camerlenghi, Rialto, Venice, 1525–28 (P: author)

196. Vasari: Uffizi, Florence, 1560 (P: author)

197. Uffizi, Florence: end bay with Cosimo I, flanked by figures of Rigour and Equity (P: author)

198. G. B. del Tasso: Loggia di Mercato Nuovo, Florence, 1547 (P: author)

199. G. Bergamasco: Porta S. Tommaso, Treviso, outer façade, 1518 (P: author)

200. Sanmicheli: Porta Palio, Verona, c.1550, outer façade (P: Charles Woodruff)

201. Porta Palio, Verona: inner façade (P: Charles Woodruff)

202. Michelangelo?: Porta del Popolo, Rome, outer façade, c.1561 (P: author)

203. Michelangelo: Porta Pia, Rome, inner façade, c.1561 (P: David Hemsoll)

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Book details

Description: Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the...

BOOKBearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the Renaissance

https://doi.org/10.37862/aaeportal.00026

Stable URL: https://aaeportal.com/?id=-19485

For all those interested in the relationship between ideas and the built environment, John Onians provides a lively illustrated account of the range of meanings that Western culture has assigned to the Classical orders. Onians shows that during the 2,000 years from their first appearance in ancient Greece through their codification in Renaissance Italy, the orders — the columns and capitals known as Doric, Ionic, Corinthian, Tuscan, and Composite — were made to serve expressive purposes, engaging the viewer in a continuing visual dialogue.

Author

PublisherPrinceton University Press

Print publication date January 1990 (in print)

Print ISBN 9780691002194

EISBN 9780300252910

Copyright© 1988 by Princeton University Press

Illustrations 213

Print Status in print

Publisher (in print)

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