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| The slenderest and most ornate of the Greek Orders, having bell-shaped capitals consisting of two rows of acanthus leaves surmounted by small volutes, and an elaborate cornice. Develops from motifs used in interior decoration and furniture, spreads to architecture. |
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| A row of identical columns surrounding the exterior of a building, an atrium, or an enclosed space. |
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| The swelling of a column shaft. |
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| Couch for sleep, sitting, and dining. Often with decorated head and foot boards and upholstered mattress. |
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| A Greek garment made from a large rectangle of cloth which could be draped in various ways. Often used as a cloak covering the head. Worn by both sexes. |
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| A large pin or brooch used by Greeks and Romans to fasten male or female garments. |
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| A simplified version of the Roman Doric order with a plain frieze, and no fluting on the column. |
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| The decorated façade of the backstage house in a Roman theater. |
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| The treatment of a ceiling, vault, or dome which is divided by a web of raised, horizontal members resulting in uniform deep, often decorated spaces between, called coffers. |
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| Identical wedge-shaped blocks making up an arch, the angle of whose sides is projected from the radius of the arch. |
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| A Roman linen garment similar to the Greek chiton, but sewn from two pieces of cloth, slipped over the head, and tied at the waist. Characteristic of common people. |
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| The Latin name for the Greek peplos, the ceremonial garb of wealthy Roman ladies. It was draped like the peplos , open on one side. |
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| LATIN CROSS/CRUCIFORM PLAN |
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| The plan of a church in which two main aisles of unequal length cross at right angles with the shorter aisle crossing the larger at a point east of its center, resulting in a cross plan with three equal arms and one longer arm. |
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| A tapered block placed between the top of a capital and the springline of an arch. Characteristic of Early Christian and Byzantine architecture |
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| A metal decoration technique in which enamel, glass or painted compartments are separated by shaped metal bars or fillets forming the design outline |
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| The fitted tunic worn by both sexes that became the basis for both monastic clothing and the long coats of knights. Short for men, long for women. |
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| An oblong or square panel of a chlamys worn by Byzantine sovereigns and their attendants. |
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| The small crown set with gems and decorated with hanging ornaments worn by Byzantine emperors. |
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| An arch or niche in a mosque wall indicating the direction of Mecca. Often highly decorated. |
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| A large, covered market or bazaar with shops grouped according to the commodity being sold. |
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| The basic round-necked tunic for men and women with long sleeves, several often worn in layers. Often the only garment for children. |
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| Referring to the empire established by Charlemagne and his successors in Germany and France and Italy during the 9th Century that briefly reunited elements of the former Roman Empire in which Charlemagne sought to revive classical culture and learning. Carolingian architecture was based on late Roman and Early Christian styles. |
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| The name of the heavy, defensive castle architecture developed by the French and English military and spread throughout Europe at the time of the Crusades. |
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| Lengths of small metal chain tied or woven together into a tunic. Probably of Persian origin. |
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| PERPENDICULAR/HORIZONTAL GOTHIC |
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| The religious architectural style of the Gothic period in England that balanced the vertical thrust of buildings with a horizontal emphasis in composition. |
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| The style of domestic architecture of the Gothic period in England, France, and Germany characterized by walls constructed of visible heavy wood beams infilled with plaster. |
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| An arch form developed from two intersecting arcs joining at a point at its apex. Probably of Persian origin. |
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| A carved paneling or decorative motif representing a symmetrical fold of linen cloth. |
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| A long outer garment, open at the front, worn by men and women, either sleeveless or with varying lengths of sleeves. |
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| The system of pictorial symbols and colors identifying persons and families used on clothing, armaments, and documents. |
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| A full tailored overdress worn by both sexes with full, flaring sleeves, a tight waist, and a funnel shaped collar, opening at the front. Often with a pleated front and lined in contrasting fabric or fur. Worn short, below the knees for men and long, floor length for women. |
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| The English Renaissance architecture, decorative and furniture style from the death of Elizabeth I to the Cromwellian Revolution reflecting Classical influences. Characterized by flatter, low relief sculptural elements. Named for James I, successor to Elizabeth. |
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| A wealthy Italian residence in the city. |
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| A small room or chamber in a palazzo or villa |
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| A wealthy French residence in the city. |
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| A large neoclassical window divided into three lights by columns or pilasters the center light of which is usually larger and arched. |
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| A style of Renaissance clothing in which an outer garment has many small slits that allow an undergarment to be pulled through. |
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| Spanish style women’s skirt in a bell shape, stiffened on a wire frame. |
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| The English and American furniture style of the early to mid 18th Century featuring chairs with cabriole legs with slipper feet, an elliptical crestrail, and a vase-shaped back splat. Casework furniture also features cabriole legs and slipper feet, and flat cornices. |
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| An S-shaped furniture leg often with the features of an animal leg. |
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| A men’s overcoat with mid-length sleeves, often highly decorated, and long sides with exaggerated buttons and pockets. Worn long during the Baroque, and ¾ length during the Rococo. |
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| A stiff, decorative triangular panel applied to the front of the bodice. |
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