Through the many forms of art in our history, I will focus on the architecture of the Stonehenge and the Pantheon. Both buildings exert multiple similarities towards each other such as their circular structure, yet due to being built in different eras they served different purposes and underwent their rightful technological differences. I will observe these two art forms in countless ways through the means of compare and contrast to build a greater understanding of their historical ties. The Stonehenge (in England), carries with it thousands of legends and stories, yet through “modern scientific methods of “dating”” we can assume that it was built in what we call the “Prehistoric Times” (The Master Minds of Stonehenge 2); specifically, the Neolithic period which is where the “transition from foraging to farming” is first evident (The Climatic Origins of the Neolithic Revolution: Theory and Evidence 2). Although we cannot determine the exact reason for this transition a truly likely theory is the alteration in climate. This new climate brought upon the process of settling; through time agriculture became advantageous. With the knowledge of these facts the dating of the Stonehenge becomes more accurate. …show more content…
The Pantheon is a Roman temple, and that is originally “linked to the gens Julia”.
We can observe this through the “civic as well as religious function” that the temple had maintained in the past (The Iconography of Sacred Space: A Suggested Reading of the Meaning of the Roman Pantheon 25). It was originally built in honor of Augustus, yet “as a man at the service of the people”, he felt that it would jeopardize his image (Purpose of the Roman Pantheon). Hadrian later rebuilt this piece of
architecture. The Pantheon is a hemispherical dome composed of a rectangular portico. The front entrance has a set of granite columns reaching high reminding you of the Greek architecture. The building is made of concrete faced with brick with a set of bronze doors that have survived from the original version. The interior of the dome is lined with marble, and the most striking feature is the 27-foot oculus (which to the Romans symbolized the eye of the gods). The oculus is the only source of direct light, and thus the building has a cold and dark appearance most of the year. There are 14 blind windows between the cylinder and the dome; these were likely meant for statues yet since the statues didn’t survive we’ll never know. At the time this was built, it represented the height of architecture/art, involving more than one type of style. The Pantheon and the Stonehenge maintain a similarity in shape with their circular forms. With the post and lintel system that the Stonehenge represents and the complex architecture the Pantheon exerts, you can truly observe the evolution of humanity.
Thesis: Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction offers St. John the Baptist more flexibility in design and style. Still, their likeness and variations extend far beyond the realm of their design.
On May 20, 1996, TIME magazine contained an advertisement for the Mita DC-8090 copying machine. It included a vivid image of a very recognizable work of art, Stonehenge. TIME magazine is a weekly news magazine and its readers are educated and interested in current events, politics, business, science, and the arts. The text of the advertisement states, "The new Mita DC-8090 has the technology to manage complicated copying jobs from start to finish-it's fully automatic. Sunsets should be watched, not copiers." The advertisement utilizes the beautiful image as a setting to make the product look attractive and the text to suggest that the copier will save time and effort. It also assumes that the reader will associate Stonehenge with the sun and sunsets using common knowledge about this famous structure.
Q: Use St. Peter’s Basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vier(7) in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form. During the period of Renaissance, human’s thought and intelligence has reached its highest and its effect on the architectural form, it became clear and its engagement of rational aspect on the building. Mainly geometrical forms are the characteristics which can be identified. Not so long after the Renaissance period of Baroque architecture was introduced, rather than logic and reasoning they wanted to capture the emotional atmosphere by using the architectural elements such as light, height, crafted art, costly materials and so on as mentioned by(Scotti 2007, 5-10).
The content of this project is based on the largest and most complete megalithic structure in Europe, The Stonehenge. It resides in center of the southern England; on the wide spread Salisbury Plains. It is said to be old approximately four thousand years, and it is even considered older than the Great Pyramids of Egypt. Standing there over such a long time, it has been the subject of research and mystery in general, for a really long time. Dozens of notable scientists, emperors and others expressed their admiration and interest through different means of explorations and excavations. There have been various theories on how it was built, and what the purpose of it was, and some of them are really intriguing and interesting such. Some thought it was built as a solar-lunar calendar, some said that it had medical purposes for the giants that had built it, it was considered a ceremonial place, temple of veneration, a portal and lastly but not less important, there were some associations of Stonehenge to the aliens. The two specific theories on the Stonehenge’s importance will be discussed and summarized in this essay. First theory comes from an astronomical stand point interpreted by Mr. Chris Witcombe, and the second theory might sound unusual when said the Stonehenge represents the human vulva, and this theory is interpreted by Anthony Perks(PhD) and Darlene Bailey(BA).
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Many humans have been interested in different forms of art throughout all of history. Countless people have spent endless hours researching, studying, and learning about different pieces of art. Although each piece of art is unique to in own appearance, time, and meaning, many similarities can be found. Stonehenge and the Great Pyramid are two historical works of art that can be studied via comparison. Looking at the two pieces, many differences and similarities can be observed.
In the following essay, I will be comparing the Hagia Sophia in the City of Istanbul, and the Suleymaniye Mosque of Istanbul. Both of these pieces of art are very significant to the in modern-day Turkey. The art pieces will be covered in more detail further on in this comparative essay, and finally, I will be judging the pieces at the end of this essay
Art was viewed in a different sense in the fourteenth century. It had a more active role and was not just decoration, but a vital component of worship and pr...
...ral (138 ½ feet), Michelangelo’s St. Peter’s (137 ½) and Wren’s St. Paul’s (109 feet). Until steel and concrete technology advanced in the 19th century, no single spaces were larger than these. Bibliography Dirimtekin, Feridun. [1964]. Saint Sophia Museum. Istanbul: Touring and Automobile Club of Turkey. Fossati, Gaspare. 1852. Aya Sofia, Constantinople : as recently restored by order of H. M. the sultan Abdul-Medjid. London: R. & C. Colnagni & Co. James Stevens Curl. Classical Architecture: an introduction to its vocabulary and essentials, with a select glossary of terms. New York: Van Nostrand Reinhold, 1992. ISBN 0-442-30896-5. NA260.C87. interior photo of circular space (photo of the prostyle octstyle portico of the Pantheon) William L. MacDonald. The Architecture of the Roman Empire I. New Haven, CT: Yale University Press, 1982. ISBN 0-300-02818-0. LC 81-16513
I. On Salisbury Plain in Southern England stands Stonehenge, the most famous of all megalithic sites. Stonehenge is unique among the monuments of the ancient world. Isolated on a windswept plain, built by a people with no written language, Stonehenge challenges our imagination.
As one of the greatest structures in Rome, the Pantheon was built between 118 and 128 CE. It is described as the most remarkable ancient building surviving in Rome. After being destroyed and rebuilt twice, it was renamed the “Temple of the Gods”. In 126 AD, the Pantheon was restored to its glory, by the architects who at that time has learned and mastered their craft in concrete construction in the Greek Classical order. They constructed a massive 25 foot thick walls which was to support the huge dome made of concrete to be placed at the top. The dome was the largest ever made of unreinforced concrete at 43.4 meters in diameter (Matthews, Roy and Platt pg. 5).
Behind every great structure in the world, there are the people who made them, and who took the time and effort to design them. Those who made Stonehenge succeeded in creating an incredibly complex and mysterious structure that lived on long after its creators were dead. The many aspects of Stonehenge and the processes by which it was built reveal much about the intelligence and sophistication of the civilizations that designed and built the monument, despite the fact that it is difficult to find out who exactly these people were. They have left very little evidence behind with which we could get a better idea of their everyday lives, their culture, their surroundings, and their affairs with other peoples. The technology and wisdom that are inevitably required in constructing such a monument show that these prehistoric peoples had had more expertise than expected.
The Stonehenge at Salisbury Plains has been shrouded in mystery even before the time of Christ, but the truth of the matter is that nobody truly knows how this monument came to be. The origins of this monument range from logical theories to totally far fetched science fiction and middle age theories. This site has been around for over 4 millennia, but before the stones were even erected or on British land, it was used as a burial site. Then comes the weird theories, like Merlin from the King Arthur tales using his powers to move all of the stones into their formation or extraterrestrials coming down from outer space and giving knowledge to the ancient people in the area. Aside from these theories that lack any form of logical reasoning, the most widely accepted theory is that the monument was created as a religious shrine for the Druids of the area.
The columns, forty-two feet high and fourteen in circumference, are each of one piece of red oriental granite, but of the same black colour as the rest of the building, not excepting what should be the white marble of the capitals…On entering the portico the dark columns seem to swell into greater dimensions--you approach one of them, that you may compare the size of a man with the towering mass of mortal workmanship--you strike your hand against it, but the column, which has stood unmoved for nineteen centuries, does not vibrate to your blow. You must indulge in these emotions of astonishment before you advance to the magnificent doors of sculptured bronze, and enter the temple of Jupiter and the gods, now consecrated to the Virgin and the martyrs (Peale
As Nuttgens eloquently expressed, architecture is a “vital…expression of the experience of mankind.” It is more than just buildings used for storage, housing, religious purposes, simple functionality; it is a great manifestation of the commonality of man, the great connecting factor of humankind. However, it can be argued that the ancient and classic forms or architecture are in essence more “profound…lasting… [and] inexhaustible” than those of their modern counterparts, because of some key differences in the ways ancient and modern architecture are practiced.