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| the position of a human when the weight is on one leg while the other is relaxed. Can suggest that the figure has potential for movement |
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| Flattened relief. Perspective and distance are achieved via optical suggestion as opposed to sculptural projection |
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| Pedestal of an altarpiece - usually decorated with small narrative scenes |
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| Independent associations of bankers and artisans |
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| Coating with gold, gold leaf, or some gold colored substance |
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| Italian for field - used in some cities to denote a certain public square |
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| Colors mixed with egg yolk. |
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| Italian meaning Virgin in Majesty. A large altarpiece of the Virgin enthroned, adored by saints and angels |
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| the addition of patterned effects by using stamps that indent the surface of a panel painting |
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| A painting made on wet plaster with pigments in the water so when the plaster dries the painting is part of the wall |
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| A collection of saints' lives written in the 13th C by Jacopo da Voragine. |
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| the large central aisle, usually axial and often with a clerestory, that characterizes Basilicas. |
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| One of the corridors parallel to the nave of a church, separated from it by an arcade or colonnade |
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| Founded by St. Francis of Assisi for the purpose of ministering to the spiritual needs of the poor and imitating as closely as possible the life of Christ |
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| In a cross-shaped Christian church, the crossarms placed perpendicular to the nave. Usually separate the nave from the chancel or apse. |
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| A large semicircular or polygonal niche, as seen in Leonardo's drawing of churches |
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| a general term applied to any church that has a longitudinal nave that terminates in an apse and is flanked by side aisles. |
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| a painted or sculpted religious image that stands upon and at the back of an altar. |
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| the layer of relatively coarse plaster that is the first layer applied to a wall in the making of a fresco |
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| fresco a secco is painting on dry plaster - not as durable as a fresco and paint tends to flake with time |
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| Preliminary brush drawing, in red earth mixed with water, for a painting in fresco usually done on the arriccio |
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| the layer of smooth plaster on which a fresco is painted |
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| term for the individual patch that reveals how long it took a painter and his workshop to complete one days worth of painting |
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| Full-scale preparatory drawing on one or more sheets of heavy paper |
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| method of transferring a cartoon to a surface by pricking small holes along the outlines of the drawing then dusting the cartoon with charcoal so the lines of the composition are transferred to the wall |
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| a mixture of finely ground plaster and glue used to prepare the surface of a wooden panel for tempera painting. Grosso is thicker and first and sottile is second. |
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| an altarpiece or devotional object consisting of more than three sections joined together. |
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| italian for palace and sometimes for large civic or religious buildings |
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| the tan stone traditionally employed by Florentine builders |
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| the gray Tuscan lime stone used in Florence |
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| A gallery or arcade open to the air on at least one side |
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| the church in which a bishop has his permanent cathedra (town or city can only ever have one) |
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| a bell tower either attached to a church or freestanding nearby |
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| italian word for cathedral |
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| Board of works of a cathedral, the organization that often functions as the patron for works of art created for the cathedral |
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| another word for dome - a rounded, convex roof or vaulted ceiling, usually hemispherical on a circular base and requiring buttressing |
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| in a domed structure, the four carved triangular segments that provide a transition from the four supporting piers to the drum or to the circular base of a drum |
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| An area that is elevated above adjacent rooftops, usually along a central axis; it has windows on the sides and its purpose is to allow light into the interior |
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| form of measurement - an arms length |
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| The upper part of an architectural order |
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| the crowning, projecting architectural feature; especially the uppermost part of an entablature |
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| The middle part of the entablature (or any horizontal band decorated with molding, relief sculpture or paintings) |
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| the lowest part of an entablature |
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| the decorated, crowning member of a column or pilaster on which rests the lintel (architrave) or the arches of an arcade |
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| a freestanding cylindrical support, usually consisting of a base, a rounded shaft, sometimes fluted, and a capital |
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| a square block placed above the capital in an architectural order |
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| a shallow, vertical element having a capital and base. a pilaster is engaged in a wall, from which it projects and is decorative rather than structural |
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| used to refer to the emphasis on precise figure drawing in Florentine and Roman art, especially of the High Ren. |
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| in painting, the contrast of light and shade |
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| a school of Greek philosophy established in Alexandria in the 3rd century and received by Italian humanists in the 15th C. These scholars translated the works of PLato and Plotinus and tried to evolve a system that would reconcile Christian beliefs with Neoplatonic mystical thought. |
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| italian for smoky, used for the method developed by da Vinci of modeling figures by virtually imperceptible gradations from light to dark |
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| term for one of the large horizontal paintings placed in a Florentine Renaissance home high on the wall, above the paneled wainscoting. |
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| Founded as a preaching oder at Toulouse in 1216 by St. Dominic. Live austerely and believed in having no possessions, surviving by charity and begging (SMN) |
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| Meeting hall within a monastery where residents gather to discuss things. (SC) |
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| lones running at right angles to the plane of the picture surface, but in a representation using one point perspective, converging toward a common vanishing point in the distance. |
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