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| A crust or hard coat on the surface of something |
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| In Roman Architecture, a public building for legal and other civic proceedings, rectangular in plan with an entrance usually on a long side. In Christian Architecture, a church somewhat resembling the Roman Basilica, usually entered from one end with an apse at the other |
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| the temporary wooden framework used in the construction of arches, vaults, and domes. |
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| a unit of measurement on which the proportions of a building or work of art are based. |
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| The standard type of Etruscan column. It resembles ancient Greek doric columns but is made of wood, is unfluted, and has a base. Also popular motif in Renaissance and Baroque architecture |
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| One of the two systems or orders in ancient greece for articulating the three units of the elevation of a classical building- the platform, the colonnade and the superstructure. The doric order is characterized by capitals with funnel shaped echinuses, columns without bases, and a frieze of triglyphs and metopes |
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| One of the two systems or orders invented in ancient greece for articulating the three units of the elevation of a classical building; the platform, the colonnade, and the superstructure. The ionic order is characterized by, among other features, volutes, capitals, columns with bases, and an uninterrupted frieze |
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| a more ornate form than foric or ionicl it consists of a double row of acanthus leaves from which tendrils and flowers grow, wrapped around a bell shaped achinus. Although this capital form is often cited as the distinguished feature of the corinthian order, no such order exists, in strict terms, but only this syle of capital used in the ionic order |
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| The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another0 creating a counterpositioning of the body about its central axis. Sometimes called weight shift because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other |
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| One point linear perspective |
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Around 1425 Brunelleschi discovered one-point perspective, a method for representing the
appearance of three dimensions on a two-dimensional (i. e., flat) surface.a perspective system involving a single vanishing point. |
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| 1.9 feet. An italian unit of length |
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| A line imagined to be behind and perpindicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon |
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| the arch which separates one bay of a vault from another, often decorated. |
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| to give a rustic appearance to masonry blocks by roughening their surface and beveling their edges so that the joints are indented. A technique employed in ancient roman architecture and also during renaissance |
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| Masonry made of large square-cut stones, used as a facing on walls of brick or stone. |
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| A round or eyelike opening or design in a dome, in particular. A a small round window in a gothic cathedral |
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| a technique (also known as buon fresco ) of painting on the lime plaster surface of a wall or ceiling while it is still damp, so that the pigments become fused with the plaster as it dries. |
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| the rough first coat of plaster in a fresco. |
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| the last layer of smooth lime plaster applied to the wall; the painting layer |
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| the section of plaster that a fresco painter expects to complete in one session |
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| A burnt orange pigment used in fresco painting to transfer a cartoon to the arricio before the artist paints the plaster |
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| a two panel painting or alterpiece, also an ancient roman, early christian, or byzantine hinged writing tablet, often of ivory and carved on the external sides |
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| a three paneled painting, ivory plaque, or altar piece. Also, a small, portable shrine with hinged wings used for private devotion |
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| an altar piece composed of more than three sections |
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| A painting technique using oil-based pigments that rose prominence in Northern Europe in the 15th Century and is now the standard medium for painting on canvas |
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| a technique of painting using pigment mixed with egg yolk, glue, or casein; also the medium itself |
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| in drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling |
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| painting in the shadowy manner, using violent contrasts of light and dark, as in the work of caravaggio |
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| " wet on wet" painting technique used in oil paintings. layers of wet paint are applied to previous layers of wet paint |
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