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| a country house used as a getaway for urban elites and usually the seat of a working farm |
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| the late medieval/Renaissance residence of a wealthy Italian family, built as a large block with an interior courtyard and sometimes an enclosed garden |
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| hotel (also hotel particulier) |
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| a French townhouse or apartment |
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| a large French country house or castle often giving its name to wine made in its neighborhood |
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| the main floor of an Italian palace, usually one story above the ground floor |
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| a bell tower, usually free standing |
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| elected chief of state lordship, the ruler of the Republic in many of the Italian city states during the medieval and renaissance periods |
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| forced perspective, used to create the appearance of a larger space. |
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| a processional passageway around a shrine or flanking the apse of a Christian church |
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| the part of a church where the choir sits, either incorporated with the chancel or directly in front of it |
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| a level space in a garden or yard occupied by an ornamental arrangement of flower beds. the part of the ground floor of an auditorium in the rear and on the sides, esp. the part beneath the balcony |
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| a shallow, flattened, rectangular column or pier attached to a wall and often modeled on an order |
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| Italian country home; social gathering place |
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| a large or important room or hall |
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| a central-plan structure, usually octagonal, for Christian baptism rites |
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| rooms set aside for visits from the King and Queen, but sometimes for other dignitaries |
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| French word roughly meaning “in a row”. Remember Zygas illustrating that you could fire a rifle from one end of the castle to the other. Allows light propagation too |
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| a container for relics, generally for those of a religious nature |
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| an ornamental canopy over a tomb, altar, or throne |
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| a small, fenestrated tower on top of a roof or dome, admitting light to the space below |
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| a ditch with a wall on its inner side below ground level, forming a boundary to a park or garden without interrupting the view |
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| the transverse arms of a cross-shaped church, crossing the main axis at a right angle |
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| a tall, narrow window capped with a pointed arch |
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| more properly known as the "wheel" window, a circular window above the entry to a Gothic cathedral |
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| the relationship that exists between two things measured; often in architecture, this refers to the length of something compared to its width or height |
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| an anteroom to a larger hall |
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| an arch with a pointed apex, characteristic of Gothic architecture; also a lancet arch |
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| an arch or half-arch that transfers the thrust of a vault or roof from an upper part of a wall to an external pylon |
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| a pointed arch having an s-shaped curve on both sides |
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| the relationship between architectural elements and the whole |
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| a place of assembly for the business meetings of a monastery |
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| a roofed porch or gallery with an open arcade or colonnade |
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| a row of columns supporting a beam or entablature |
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| a series of arches on columns or piers, either free-standing or attached to a wall |
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| a wall painting made on wet plaster with water-based colors |
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| a Roman building or room containing a fountain, adorned with plants and sculpture, and serving as a place of rest |
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| region of northeast Italy, bordering Austria, of which Venice is a part |
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| region of Italy north of Rome, with its capital in Florence |
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| These gardens are the land surrounding villas not used for farming. Pleasure gardens, frequently on sloping sites and always an architectural water feature. |
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These formal gardens are built on flat land and are much less ornate than Italian gardens. Water features are one jet, the wind will push the water around. Very Geometric.
Villandry and Versailles! |
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| English (picturesque) garden |
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| Informal and picturesque, made to look as if the garden was always there yet it is carefully planned. Meandering paths and false ruins (follys). Central Park follows this design. |
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| A 16th-century movement in Western Europe that aimed at reforming some doctrines and practices of the Roman Catholic Church and resulted in the establishment of the Protestant churches. Protestant reformers pointed to the excesses of Roman Catholic cathedrals. |
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| (Also known as the Catholic Revival) was the period of Catholic revival beginning with the Council of Trent (1545–1563) |
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| Generally considered the move away from an agricultural society; architecturally, this led to larger, more functionally-oriented buildings, with manufacturing box buildings becoming a prevalent building type |
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| 18th century neoclassical sytle developed by Scottish brothers; it focused on creating an integrated style for the architecture and the interior design. |
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| late Gothic architecture in 15th-century France and Spain. It evolved out of the Rayonnant style’s increasing emphasis on decoration |
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| Talking Architecture; is designed to show who occupies the building; Charles Ledoux examples: Rural Guards House, Water Works, Royal Salt Works, Toll Houses |
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| in building design, usually churches and cathedrals, in the shape of the capital letter T |
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| in building design, usually churches and cathedrals, in the shape of the letter x |
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| in building design, usually churches and cathedrals, two equal length lines intersecting at right angles, so that all four arms of the cross are also of equal length |
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| in building design, usually churches and cathedrals, two lines not of equal length, intersecting at right angles, forming a lower case t |
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| (c. 1081 – 1151) was a historian and the influential first patron of Gothic architecture with the Abbey Church of Saint-Denis |
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| (c. 1491-1547) King of England famous for excommunication by the pope and formation of the Church of England. Influential in turning England into a Protestant country |
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| Leader of the move away from Catholicism that created Protestant churches during the Reformation. |
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| Rich benefactor family in Florence during the 14th and 15th century; were responsible for the building of the infamous San Lorenzo basilica and egg-shaped dome |
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| (c. 1443-1513) best known in architecture for commissioning the destruction and rebuilding of St. Peter's Basilica and the repainting of the Sistine Chapel. |
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| He ordered his architect to treat the rest of the city like an extension of his garden. Fontana placed the Moses Fountain as a triumphal arch at the juncture of his aqueduct and Strada Pia. He raised the obelisk in front of St. Peter’s, one of the great technical feats of the age, and planted three other obelisks as goals at the end of new straight avenues (built to help the pilgrim move about the edges of the city). |
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| (c. 1527-1598) Known for failed Spanish Armada against Protestant England in the Counter-Reformation. Responsible for then monumental Escorial near Madrid (architect Juan de Herrera, begun by Juan Bautista de Toledo) |
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| (c. 1638-1715) Best known as the patron of Versailles. Commissioned Le Notre after seeing Vaux Le Vicomte and arresting the owner, his finance officer. Made diamonds popular. |
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| (c. 1694-1753) Real name is Richard Boyle, influenced by Palladian villas leading to Chiswick House, best example of neo-palladio design. Interior is colorful, not Palladian white, and uses colors popular at the time. |
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| Geoffrey Chaucer, ca. 1380 |
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| Art of Building in Ten Books (De re aedificatoria) |
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| Lives of the Architects, Painters, and Sculptors |
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| I Quattro Libri dell'Architettura English translation: Four books on Architecture |
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| Andrea Palladio 1570, 1715 |
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| Vitruvius Brittanicus, London 5 volumes |
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| Ruins of the Palace of the Emperor Diocletian |
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| 18th, 19th, 20th centuries |
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| 1450 San Lorenzo Interior |
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| 1470 Rucellai Palace detail |
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| 1450 Pazzi Chapel by Brunelleschi |
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| 1450 Pazzi Chapel Interior |
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| 1450 San Lorenzo plan organization |
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| 1450 Foundling Hosp. by Brunelleschi |
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| 1500 San Andrea by Alberti |
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| 1500 Tempietto by Bramante |
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| 1500 Tempietto 1 by Bramante |
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| 1500 King's College Chapel, Cambridge |
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| 1500 King's College Chapel |
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| 1510, 1540 Sistine chapel frescos - Michelangelo |
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| 1525 Medici Chapel - Michelangelo |
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| 1525 Laurentian Lib. Vestibule |
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| 1525 Medici Chapel by Michelangelo |
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| 1525 Palazzo del Te by Giulio Romano |
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| 1550 Campidoglio by Michelangelo |
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| 1550 St. Peter's dome model Michelangelo |
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| 1550 Seven Pilgrimage Churches, Rome |
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| 1550 Uffizi Gallery by Vasari |
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| 1550 Villa d'Este Ftns Italian gdn. |
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| 1550 Villa d'Este Italian garden |
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| 1550 Villa Rotonda Palladio |
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| 1550 Villa Barbaro, Palladio |
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| 1550 Villa Barbaro, Palladio |
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| 1550 Villa Foscari (Malcontenta) |
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| 1550 Villa Foscari, sala - by Palladio |
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| 1625 New St. Peters above Old St. Peters |
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| 1625 Banqueting House by Inigo Jones |
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| 1625 Banqueting Hse. interior |
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| 1625 Queen's Hse. by Inigo Jones |
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| 1625 S. Peter's interior extensio by Maderno |
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| 1625 St. Peter's roofscape |
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| 1625 St. Peter's Basilica night view |
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| 1625 St. Paul's, Covent Garden - Inigo Jones |
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| 1650 S. Carlino - interior |
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| 1650 S. Carlino - Borromini |
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| 1650 S. Carlino exterior Borromini |
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| 1650 Baldachino in St. Peter's by Bernini |
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| 1650 S. Ivo interior by Borromini |
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| 1650 S. Ivo interior detail |
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| 1650 San Andrea - Bernini |
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| 1675 Blenheim - English garden |
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| 1675 St. Paul's - Christopher Wren |
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| 1675 St. Paul's section 2 |
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| 1675 Castle Howard - English garden 3 |
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| 1675 S. Lorenzo by Guarini in Turin, plan |
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| 1675 S. Lorenzo by Guarini in Turin gen view |
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| 1675 S. Lorenzo by Guarini, interior |
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| 1700 piazza s. ignazio 12a |
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| 1700 Chateau de Marly, comp to Univ. VA |
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| 1775 Saltworks, Ledoux, archit. parlante |
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| 1785 National Library, int. Boullee |
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| 1785 Newton's Cenotaph, ext. Boullee |
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| 1785 Newton's Cenotaph, int. Boullee |
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| 1800 Water works, Ledoux, archit. parlante |
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| 1800 Rural guards hse, Ledoux, arch. parlante |
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| Developed in ancient Italy, this column resembles a Greek Doric column, but it has a smooth shaft. Because of their simplicity, they can be found on many 20th century homes and as additions to the facade of other structures. |
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| More slender and more ornate than the earlier Doric style, this column has scroll-shaped ornaments on the capital, or top. |
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| With a plain capital and a fluted shaft, this is the earliest and most simple of the Classical column styles developed in ancient Greece. |
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| This column is more complex and elaborate than the earlier styles. The capital, or top, of this column has lavish ornaments carved to resemble leaves and flowers. |
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| In about the first century BC, the Romans combined the Ionic and the Corinthian orders of architecture to create this style. |
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