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| a large, stately tomb, or building housing a tombSanta Costanza |
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| a large, stately tomb, or building housing a tomb |
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| a side aisle, usually circular or semi-circular or semi-circular, used for pilgrimages or ceremonies Santa Costanza |
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a covered entrance vestibule
Santa Costanza |
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| the upper walls, usually of a church, pierced by a row of windows |
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imagery from one tradition that is adopted by another tradition and used with new meaning
Santa Costanza |
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Latin for triumphant Christ; a cross with a representation of a living Christ, eyes open and triumphant over death
Suicide of Judas and Crucifixion of Christ |
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tiny stones or pieces of glass cut to desired shape and size to use in mosaic design
Christ as the Good Shepard |
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four concave, triangular pieces of masonry (triangular sections of a hemisphere), which provide the transition and support from a square area to this circular base of a covering dome
Anthemius of Tralles & Isidorus of Miletus - Hagia Sophia |
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a tall, usually slender tower or turret , connected with a mosque. Minarets have one or more projecting balconies from which the muezzin (or crier) calls the people to prayer
Anthemius of Tralles & Isidorus of Miletus - Hagia Sophia |
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refers to a three-part organization, and is most oftenused in architecture to describe elevations, interiors, and floor plans
Anthemius of Tralles & Isidorus of Miletus - Hagia Sophia |
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in church architecture, an upper story over an aisle, opening on to the nave
Anthemius of Tralles & Isidorus of Miletus - Hagia Sophia |
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(literally, fear of the empty space) a technique of design in which an entire surface is covered with pattern or decoration
Justinian, Bishop Maximianus, and Attendants |
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a method of composing groups of figures in such a way that all are shown at the same height , regardless of posture or purpose; the heads of figures appear to be all at the same level
Justinian, Bishop Maximianus, and Attendants |
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a monogram and symbol for Christ, consisting of the first two letters of Christ in Greek, and often, the first and last letters of the Greek alphabet representing the words of Chirst-"I am the beginning and the end"
Justinian, Bishop Maximianus, and Attendants |
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Latin for suffering Christ, which in general superseded representations of the Christus Triumphans type
Crucifixion mosaic (Daphni Crucifixion), |
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| Latin for suffering Christ, which in general superseded representations of the Christus Triumphans type |
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a reminder of human mortality(death), usually represented by a skull
Crucifixion mosaic (Daphni Crucifixion), |
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a representation or picture of a sacred Christian personage, itself regarded as sacred, it is often rigid, stylized, and essentially two-dimensional; technically, in Byzantine, Greek, and Russian Orthodox church art, it is a type of representation of Christ, the Virgin Mary, or a saint in a painting, mosaic, or bas relief (but never sculpture) in the manner described above
Vladimir Madonna (Virgin and Child |
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When Mary and the Christ-child are shown pressing their faces (cheeks) together and gazing tenderly at each other; the source of this portrayal was widely believed to be a portrait painted by the evangelist Luke following a vision he had of the Nativity
Vladimir Madonna (Virgin and Child |
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a decorative technique using abstracted animal forms in an (often elaborate) interwoven pattern
Chi-rho-iota Page (from the Book of Kells), |
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a text, as in a hand-lettered codex (book), written and decorated by hand with color illustrations; usually these depictions are stories from the Bible, and were important because many people were illiterate.
Chi-rho-iota Page (from the Book of Kells), |
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the part of the church between the chief entrance and the apse end; the long, central hallway demarcated from the side aisles by piers or columns
St. Matthew (from the Ebbo Gospels), |
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the transverse arms of a cross-shaped church; they run perpendicular to the nave
St. Matthew (from the Ebbo Gospels), |
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a cross-shaped floor-plan; not typically seen until the Gothic era
St. Matthew (from the Ebbo Gospels), |
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the space in a cruciform church formed by the intersection of the nave and the transept
St. Matthew (from the Ebbo Gospels), |
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the portion of a church flanking the nave and separated from it by a row of columns or piers
St. Matthew (from the Ebbo Gospels), |
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the vaulted, semi-circular or polygonal termination (end), usually to a chancel or chapel
St. Matthew (from the Ebbo Gospels), |
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in midieval church architecture, the use of alternating wall supports in the nave, usually piers and columns or compound piers of alternating form; this seems to have been adopted not as a structural but rather as an aesthetic device providing visual proof of the geometrical organization of the building's plan
St. Matthew (from the Ebbo Gospels), |
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a continuous projecting horizontal band set in the surface of a wall and usually molded
St. Matthew (from the Ebbo Gospels), |
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an arched, covered passageway forming the lower part of a wall elevation of a church
St. Matthew (from the Ebbo Gospels), |
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a two-tone system of stonework in architecture; [originally a style of wall/cieling decoration in Pompeii and Herculaneum where the wall was divided into panels of contrasting colors]
St. Matthew (from the Ebbo Gospels), |
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a stylized depiction of drapery where the folds simulate rungs on a ladder
Adam and Eve Reproached by the Lord |
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held the apple of the knowledge of good and evil
Adam and Eve Reproached by the Lord |
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| journeys to the distant shrines of saints, whose spirituality powerful relics could be venerated there; the Crusades("taking of the cross") were armed pilgrimages, whose stated purpose was to wrest the Christian shrines of the Hold Land from Muslim control |
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| an object of religious worship, especially an article reputedly associated with a saint or martyr |
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a unit of measurement by which the proportions of a building, or a part of it, are regulated
St. Etienne |
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chapels that surround the apse end of a church
St. Etienne |
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| (face of a building) this most often refers to the front of a building with its entrance, but may also refer to other sides when they are emphaszied architecturally |
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a mass of masonry or brick work projecting from or built against a wall to give added strength
St. Etienne |
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a vertical division of the interior or exterior of a building, marked not by walls, but by such things as columns, piers, buttresses, units of vaulting, windows, doors, etc.
St. Etienne |
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| the design and placement of windows in a building |
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tall, pyramidal, polygonal, or conical structures rising from a tower or roof, usually on a church, and terminating in a point; this is a term most often associated with Gothic art
St. Etienne |
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an arcaded area of the wall, above the nave arcade and below the clerestory; this is a term most often seen in Gothic art
St. Etienne |
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an arched ceiling or roof, usually of stone or brick(and sometimes imitated in wood or plaster)
St. Etienne |
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| the simplest form of a vault, consisting of a continuous, unbroken semi-cylindrical vault resembling a tunnel |
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| produced by the intersection of two barrel vaults at right angles; also called a groin vault |
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in this type of vaulting, one bay of quadripartite vaulting is divided transversely into two parts so that each bay has six compartments; this is a rib vault with six panels
St. Etienne |
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the semi-circular sculpted area above a door lintel and enclosed by an arch, usually seen on a church
West Tympanum of St. Lazare (Last Judgment |
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an almond-shaped variation on the halo consisting of two intersecting arcs surrounding the entire body of religious figures such as the transfigured Christ, GOd , or the Virgin Mary after the assumption; it represents the union of heaven and earth
West Tympanum of St. Lazare (Last Judgment |
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| a doorway or entrance, especially one that is large and imposing ; often refers to Medieval and Renaissaince architecture |
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the continuous , arch-shaped molding, often in concentric bands, following the contour of a Romanesque or Gothic arch
Notre Dame |
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an individual wedge-shaped block used in the construction of a true arch, composing the archivolts
Notre Dame |
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figural sculpture attached to the side posts of a doorway
Notre Dame |
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in architecture, the pillar or center post supporting the lintel in the middle of a doorway
Notre Dame |
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a three-leaf clover-shaped ornament or symbol most often used in architecture; the shape symbolizes the trinity
Notre Dame |
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a circular stained glass window, often with flower-petal stone/ lead tracery
Notre Dame |
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glass given translucent color by staining with metallic oxides and joined with lead strips to form a design or scene
Notre Dame |
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refers to stained glass that illustrates, often for the illiterate, figures and/ or stories from the Bible
Notre Dame |
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sunlight that is seemingly transformed into sacred light(God's light) as it passes through stained glass windows
Notre Dame |
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consists typically of an inclined member carried on an arch or a series of arches and a solid buttress to which it transmits lateral thrust
Notre Dame |
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an open-mouthed grotesque figure, most often used as a waterspout , projecting from an upper gutter or rooftop of a building, used to carry water away from the walls
Notre Dame |
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| tilted-tabletop perspective |
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an intuitive, rather than scientific, treatment of space, where a surface such as a table or floor is awkwardly angled towards the viewer, or shown at a strongly raking angle
Abraham and the Three Angels |
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an elevated lectern, platform, or stand used in preaching
Annunciation and Nativity (detail of the Pisa baptistery pulpit), 1259 - 1260 |
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(true fresco) painting on wet lime plaster; because the pigments are absorbed into the wall's surface as the plaster dries, it is one of the most permanent painting techniques
Lamentation |
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a panel, painted or sculpted, situated above and behind the altar
Annunciation, |
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(literally "holy conversation") a style of altarpiece painting in which saints from different epochs are joined in a unified space and are seemingly conversing with each other or with the audience
Annunciation, |
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