Composite order. Composite order Tools and materials

Tuscan order.

Tuscan order, one of the five Roman architectural orders. The name is associated with Etruscan (Tuscan) architecture. It is absent in the Greek order system, although it is similar to the Greek Doric order, which is simpler in detail, with which it is similar in shape and proportions.

The Tuscan order is an archaic variation of the Doric order.
The Tuscan order has the following features:
- capital. The shape of the capital is complemented by an interception (notch, neck).
- entablature. Consists of two wooden beams lying side by side.
- roof. Acts as a cornice. Hangs heavily in the form of a canopy.
The Tuscan order lacks frieze and flute.

The frieze of the Tuscan order is devoid of triglyphs and metopes. There are no mutulas under the eaves extension slab.

The column trunks, which are thicker than Doric ones, are smooth and without flutes. Extremely simple bases consist only of a plinth and a torus. The height of the column usually corresponded to its seven lower diameters.

The rules for constructing an order are set out by Vitruvius in his treatise On Architecture, 1st century. BC. Externally, the buildings of the Tuscan order looked durable and impressive, therefore they symbolized physical power and strength and were used mainly in economic and military buildings, usually on the first floors.

In its forms, the Tuscan order is distinguished by lightness and grace.
This architectural order arose in Ancient Rome, approximately in the 1st century BC.

Complex or Composite order.

The architects of Ancient Rome not only completely adopted the Greek orders, but also combined the best and most magnificent of the two: Corinthian and Ionic, into one - composite. As the name suggests, composition is a combination, and indeed, the order combines the best features of these rather lush and graceful orders.

In the fifteenth century, when the canons of orders were finally established, it was the composite that took the top position in the hierarchy.
The Composite order is closest in architectural features to the Corinthian order; it adopted the subtlety and lightness of its predecessor, and in proportions it also exactly repeats it.

But at the same time, its capitals always contain Ionic volutes located diagonally, as well as sculptural compositions and various details that are not found in Corinthian. Typically, any magnificent decoration of the capital could only be used in the composite order; it was a kind of quintessence of grace and luxury in this direction of architecture. Columns with a similar design usually crowned the uppermost floors of buildings.

“From an entablature of the Doric order, taken from various fragments of Roman antiquity, I composed an entablature of a complex order, which as a result came into great use.” Vignola.

The proportions of the parts remain exactly the same as in the Corinthian order. The difference between the Corinthian capital and the capital of the complex order is that in the place where the curls and small leaves are located in the Corinthian capital, in the capitals of the complex order there are Ionic volutes.

In the entablature, the proportions of the parts remain the same as in the Corinthian order, if minor changes in the overall composition are not taken into account.

The proportions of the complex order are the same as in the Corinthian order.

They differ only in the composition of the jib and the base of the pedestal. The same applies to the base of the column.

The spread of the composite order was mainly limited to Italy, when Renaissance masters showed keen interest in this ancient art. In almost all buildings in Rome, dating from the fifteenth century and later, one can find the composite order: churches, monasteries, palazzos - all these architectural monuments amaze with their sophistication even today. In France, architects used this element in the construction of the Louvre, but in Spain and the German states it was mainly used in the construction of churches and cathedrals, and was not widely used in urban developments. In Russia, you can also find examples of the composite order in the architecture of the Narva Triumphal Gate, and in the appearance of the Church of St. Catherine.
Even despite the fact that the canons of orders are carefully spelled out, and there is a very strict classification of their types, the composite order is the most decorative and magnificently decorated. Strict rules for decorating capitals are less applicable to it, but the proportions must certainly be observed.

Tuscan order.

Tuscan order, one of the five Roman architectural orders. The name is associated with Etruscan (Tuscan) architecture. It is absent in the Greek order system, although it is similar to the Greek Doric order, which is simpler in detail, with which it is similar in shape and proportions.

The Tuscan order is an archaic variation of the Doric order.
The Tuscan order has the following features:
- capital. The shape of the capital is complemented by an interception (notch, neck).
- entablature. Consists of two wooden beams lying side by side.
- roof. Acts as a cornice. Hangs heavily in the form of a canopy.
The Tuscan order lacks frieze and flute.

The frieze of the Tuscan order is devoid of triglyphs and metopes. There are no mutulas under the eaves extension slab.

The column trunks, which are thicker than Doric ones, are smooth and without flutes. Extremely simple bases consist only of a plinth and a torus. The height of the column usually corresponded to its seven lower diameters.

The rules for constructing an order are set out by Vitruvius in his treatise On Architecture, 1st century. BC. Externally, the buildings of the Tuscan order looked durable and impressive, therefore they symbolized physical power and strength and were used mainly in economic and military buildings, usually on the first floors.

In its forms, the Tuscan order is distinguished by lightness and grace.
This architectural order arose in Ancient Rome, approximately in the 1st century BC.

Complex or Composite order.

The architects of Ancient Rome not only completely adopted the Greek orders, but also combined the best and most magnificent of the two: Corinthian and Ionic, into one - composite. As the name suggests, composition is a combination, and indeed, the order combines the best features of these rather lush and graceful orders.

In the fifteenth century, when the canons of orders were finally established, it was the composite that took the top position in the hierarchy.
The Composite order is closest in architectural features to the Corinthian order; it adopted the subtlety and lightness of its predecessor, and in proportions it also exactly repeats it.

But at the same time, its capitals always contain Ionic volutes located diagonally, as well as sculptural compositions and various details that are not found in Corinthian. Typically, any magnificent decoration of the capital could only be used in the composite order; it was a kind of quintessence of grace and luxury in this direction of architecture. Columns with a similar design usually crowned the uppermost floors of buildings.

“From an entablature of the Doric order, taken from various fragments of Roman antiquity, I composed an entablature of a complex order, which as a result came into great use.” Vignola.

The proportions of the parts remain exactly the same as in the Corinthian order. The difference between the Corinthian capital and the capital of the complex order is that in the place where the curls and small leaves are located in the Corinthian capital, in the capitals of the complex order there are Ionic volutes.

In the entablature, the proportions of the parts remain the same as in the Corinthian order, if minor changes in the overall composition are not taken into account.

The proportions of the complex order are the same as in the Corinthian order.

They differ only in the composition of the jib and the base of the pedestal. The same applies to the base of the column.

The spread of the composite order was mainly limited to Italy, when Renaissance masters showed keen interest in this ancient art. In almost all buildings in Rome, dating from the fifteenth century and later, one can find the composite order: churches, monasteries, palazzos - all these architectural monuments amaze with their sophistication even today. In France, architects used this element in the construction of the Louvre, but in Spain and the German states it was mainly used in the construction of churches and cathedrals, and was not widely used in urban developments. In Russia, you can also find examples of the composite order in the architecture of the Narva Triumphal Gate, and in the appearance of the Church of St. Catherine.
Even despite the fact that the canons of orders are carefully spelled out, and there is a very strict classification of their types, the composite order is the most decorative and magnificently decorated. Strict rules for decorating capitals are less applicable to it, but the proportions must certainly be observed.

Doric order - Laconic, masculine, monumental - in ancient times it was considered a “masculine” order. (Parthenon, Temple of Hephaestus in Athens) St. Petersburg: Moscow Gate

Ionic order - characterized by greater ease of proportions and decor of all its parts. A distinctive feature of the Ionic order is the way the capitals are designed, which is made in the form of two opposite volutes. The Ionic order in antiquity was considered a “female” order, due to its sophistication, sophistication and additions with various decorations. (Temple of Artemis) Peter: Summer Palace of Peter 1.

The Corinthian order is a variant of the Ionic order. More saturated with decor. A characteristic feature of this order is a bell-shaped capital covered with stylized acanthus leaves (facade of Hadrian's Library in Athens) St. Petersburg: Holy Trinity Izmailovsky Cathedral, Leuchtenberg Palace.

Composite order is an architectural order that originated in Ancient Rome. It is a combination of elements of the Ionic and Corinthian orders - both volutes and an ornament in the form of acanthus leaves are used in the capitals. (Arch of Titus in the Roman Forum) St. Petersburg: Winter Palace, Checherin's house (House of Arts).

40. An architectural monument of the Gothic style (p\v). In any medieval city, its center was a church or cathedral around which the city was built. In Paris, such a cathedral is Notre Dame Cathedral, or, in French, Notre Dame de Paris. Construction of Notre Dame began in 1163, on the site of the first Christian Parisian church, located on the Ile de la Cité. Construction lasted 170 years and this was reflected in the appearance of the temple - it combines both Romanesque and Gothic styles. Notre Dame Cathedral is quite large. Its height is 35 meters, length is 130 meters, and width is 50 meters. The height of the bell towers is almost 70 meters. The largest bell, Emmanuel, weighs 13 tons. Notre Dame Cathedral has its own attractions. The most famous are the gargoyles or chimeras that decorate the towers of Notre Dame. They embody human sins. Also kept within the walls of the cathedral is the nail with which Jesus was nailed to the cross. No one knows whether this is really the same nail - there are about 30 such nails in the world. And another significant attraction of Notre Dame Cathedral is the largest organ in France, which consists of 109 registers and 7800 pipes. The main creators of Notre Dame are considered two architects - Jean de Chelles (1250-65) and Pierre de Montreuil (1250-67). The powerful and majestic facade is divided vertically into three parts by pilasters, and horizontally into three tiers by galleries, while the lower tier, in turn, has three deep portals: the portal of the Last Judgment (in the middle), the portal of the Virgin Mary (left) and the portal of St. . Anna (right). Above them is an arcade (Gallery of the Kings) with twenty-eight statues representing the kings of ancient Judea. The main façade of the cathedral has three doors. The roof of the cathedral is made of 5 mm thick lead tiles, laid overlapping, and the weight of the entire roof is 210 tons. Oak, covered with lead The cathedral spire is 96 meters high. The base of the spire is surrounded by four groups of bronze statues of the apostles (Geoffroy Dechaumes). A significant part of the stained glass windows was made in the middle of the 19th century. The main stained glass window - the rose above the entrance to the cathedral - is partly original, preserved from the Middle Ages (9.6 m in diameter). In its center is the Mother of God, around are seasonal agricultural work, zodiac signs, virtues and sins. Two side roses on the northern and southern facades of the cathedral in both transepts are 13 meters in diameter (the largest in Europe). The big bell rings very rarely. Inside the cathedral, transepts (transverse naves), intersecting with the main longitudinal one, form a cross in plan, but in Notre Dame the transepts are somewhat wider than the nave itself.

41. Creativity of Phidias. Ancient Greek sculptor and architect, one of the greatest artists of the high classical period. Most of the works have not survived; we can only judge them from descriptions of ancient authors and copies. Nevertheless, his fame was colossal. Zeus statue in Olympia- one of the seven wonders of the Ancient World. Phidias worked on the statue of Zeus together with his student Kolot and his brother Panen. "Athena Promachos"- a colossal image of the goddess Athena brandishing a spear on the Athenian Acropolis. Erected approx. 460 BC in memory of victories over the Persians. Its height of 60 feet towered over all the surrounding buildings, shining over the city from afar. Bronze casting. Not preserved. "Athena Parthenos" 438 BC e. It was installed in the Athens Parthenon, inside the sanctuary and represented the goddess in full armor. The most complete copy is considered to be the so-called. "Athena Varvakion" (Athens), marble. Sculpture of the Parthenon was carried out under his leadership. "Athena Lemnia"- OK. 450 BC Bronze statue. Depicts a goddess leaning on a spear, her thoughtful gaze turned to the helmet in her hand. The name comes from the island of Lemnos, for whose inhabitants it was made. Known from copies. "Athena Areia" in Plataea OK. 470-450 BC e. Made of gilded wood (clothes) and Pentelic marble (face, arms and legs). Not preserved. Athena for the city of Pellene in Achaia. Aphrodite Urania (in Eliza). “Medusa Rondanini” is a Roman copy of the head of the Gorgon Medusa, which was on the shield of Athena Parthenos. The most famous works of Phidias - Zeus and Athena Parthenos were made in the chrysoelephantine technique - gold and ivory. Phidias is one of the best representatives of the classical style, and about his significance it is enough to say that he is considered the founder of European art. Phidias and the Attic school of sculpture led by him (2nd half of the 5th century BC) occupied a leading place in art high classics. This direction most fully and consistently expressed the advanced artistic ideas of the era. They note the enormous skill of Phidias in the interpretation of clothing, in which he surpasses both Myron and Polycletus. The clothing of his statues does not hide the body: it is not slavishly subordinate to it and does not serve to expose it. Phidias had knowledge of the achievements of optics. A story has been preserved about his rivalry with Alcamenes: both were ordered statues of Athena, which were supposed to be erected on high columns. Phidias made his statue in accordance with the height of the column - on the ground it seemed ugly and disproportionate. The people almost stoned him. When both statues were erected on high pedestals, the correctness of Phidias became obvious, and Alkamen was ridiculed.

42. Monument of architecture of the Renaissance in Italy of the 15th century (n/c). The Cathedral of Santa Maria del Fiore is a cathedral in Florence, the most famous architectural structure of the Florentine Quattrocento. Notable are the dome (Filippo Brunelleschi) and the wall cladding with polychrome marble panels of various shades: green (from Prato) and pink (from Maremma) with a white border (from Carrara). The Duomo, aka, was designed so that it could accommodate the entire population of the city (90,000 people), huge covered area. The red dome of the cathedral, which has become a symbol of Florence, seems to float over the entire city. Dimensions of the cathedral: length - 153 m, width in the transept - 90 m. The unusually elegant and at the same time grandiose cathedral became a kind of boundary that separated the architectural traditions of the Middle Ages from the principles of construction of the Renaissance. Arnolfodi Cambio developed the project and began construction of the walls. He designed three wide naves ending under an octagonal dome. After the death of Arnolfodi Cambio in 1302, construction of the cathedral was suspended for thirty years. In 1330, the relics of St. Zenobius of Florence were found in Santa Reparata, which gave new impetus to the work. In 1331, Giotto was appointed chief architect, who, instead of continuing the construction of the cathedral, began in 1334 the construction of the campanile (bell tower). When Giotto died in 1337, only its first tier had been erected. In 1348, work was stopped due to the plague. From 1349 work resumed under the direction of a number of architects, starting with Francesco Talenti, who completed the campanile and expanded the building area, apse and transept. In 1359, the post of Talenti was taken by Giovanni diLapo Ghini (until 1369), who divided the main nave with arches into four square sections. Other architects involved in the construction: Alberto Arnoldi, Giovanni d'Ambrogio, Neridi Fioravante and Orcagna. Brunelleschi's dome was then built. In 1887, the current facade (Emilio de Fabris) appeared. The cathedral has the shape of a Latin cross, three naves, two side transepts and a semicircular apse. Brunelleschi and Giotto are buried in the cathedral grounds. The baptistery (baptistery) is dedicated to John the Baptist. The Baptistery is the oldest building in Piazza Duomo (5th century). Modern marble cladding was made in the 11th-12th centuries. The semicircular apse was replaced by a rectangular one in the 13th century. The dome vault is decorated with Byzantine mosaics of the 13th-14th centuries. The mosaic depicts a picture of the Last Judgment with the figure of Christ in the center. The baptistery also houses the tomb of Antipope John XXIII. The most ancient is the southern gate, created by Andrea Pisano. The gate contains 28 panels with bas-reliefs depicting the life of John the Baptist and the Cardinal Virtues. The other two gates were designed by Lorenzo Ghiberti. The North Gate (1401-24) also contains 28 framed panels in the Gothic style. These bas-reliefs depict scenes from the New Testament. The eastern gate is the most famous (1425-52). The gate is divided into 10 frameless gilded panels and represents biblical stories. This creation of Ghiberti was highly appreciated by Michelangelo and was called by him “The Gates of Paradise”. A copy of this gate at the beginning of the 19th century was installed at the northern entrance to the Kazan Cathedral in St. Petersburg.

43.The work of Sandro Botticelli. See 18 and 20 tickets.

44. Roman portrait from the collection of the State Archive (p\v).“Madonna Litta” (1490-91) is a painting by the Italian artist Leonardo da Vinci. Canvas (translated from wood), Tempera. 42x33 cm. The painting depicts a woman holding a baby in her arms, whom she is breastfeeding. The background of the painting is a wall with two arched windows, the light from which falls on the viewer and makes the wall darker. The windows offer a view of the landscape in blue tones. The very figure of the Madonna is illuminated by light coming from somewhere in front. The woman looks at the child tenderly and thoughtfully. Madonna's face is depicted in profile, there is no smile on her lips, only a certain image of her lurks in the corners. The baby looks absentmindedly at the viewer, holding his mother's chest with his right hand. In his left hand the child holds a goldfinch. Vivid imagery, the work is revealed in small details that tell us a lot about the mother and child. We see the baby and mother in the dramatic moment of weaning. The woman is wearing a red shirt with a narrow neck. It has special slits through which it is convenient to breastfeed the baby without removing the dress. The work was written for the rulers of Milan, then passed to the Litta family, and was in their private collection for several centuries. The original title of the painting was “Madonna and Child.” The modern name of the painting comes from the name of its owner - Count Litta, owner of the family art gallery in Milan. In 1864, he approached the Hermitage with an offer to sell it along with several other paintings. In 1865, along with three other paintings, the “Madonna Litta” was acquired by the Hermitage for 100 thousand francs. Some art historians draw attention to elements of the painting that are unusual for Leonardo’s style, in particular, to the unnatural pose of the baby. It is assumed that at least the figure of the baby belongs to the brush of one of Leonardo’s students, most likely Boltraffio. Leonardo's sketch of the Madonna's head while preparing the painting is now kept in the Louvre.

An architectural order derived from the Corinthian and Ionic, distinguished by its particular splendor; its characteristic element is a capital with four large volutes (as in the Ionic order), but with a vertical cylindrical core (as in the Corinthian order), which is surrounded by acanthus leaves in two levels.

Formed in the late period of Roman architecture. It is the result of a combination of elements of the Ionic and Corinthian orders. The basic proportions are the same as those of the Corinthian order, and the construction of the entablature is also similar. The capital formed by combining Corinthian and Ionic capitals represents excessive complexity and a clutter of forms. The composite order is emphatically decorative in nature. In the architecture of Russian classicism, variants of this order are reflected in the Narva Triumphal Gate (architect V.P. Stasov, 1833) and the Church of St. Catherine (architects J.-B. Vallin-Delamot and A. Rinaldi, 1783).

Conclusion

The Roman Doric order differed from its Greek counterpart in the more slender proportions of the columns, as well as the lower height of the entablature. In most cases, the columns did not have flutes and rested on bases. The supporting part of the cornice was more solid and often lacked mutulas.

The Roman-Ionic order is not so different from the Greek example, although in

Some details are somewhat more complicated (in particular, the cornice).

The Etruscan (Tuscan) order had a wooden entablature and powerful columns.

Invented by Greek architects, it became widespread in Rome.

Corinthian order. Its distinctive features are slender proportions and many decorative elements decorating the capital and cornice.

And finally, the composite order, very similar to the Corinthian one, differs from it only in the capital, which also contains features of the capital of the Ionic order.

The last two orders were used for the construction of large architectural

structures, while Tuscan was used in the construction of simple structures.

The Romans everywhere used Greek orders, which acquired a different appearance (Fig. 2). The columns lost their airiness and began to resemble a homogeneous, clearly organized mass.

List of used literature:

1. Lyubimov L. The Art of the Ancient World: Book. for reading. - 2nd

ed. – M.: Education, 1980. – 320 p. with ill.

2. Kon-Wiener History of styles of fine arts - M.: ZAO

“Svarog and K”, 1998

G.V.Dyatleva, O.V.Lapshova, E.V.Dobrova, Yu.V.Rychkova - M.: Veche, 2001. - 528 p.,

4. Gnedich P.P. World Art History. – M.: Contemporary,

1996. – 494 p.: ill.

5. Cultural studies. History of world culture: Textbook for universities

/ Ed. prof. A.N. Markova. – 2nd ed., revised. and additional – M.: UNITY, 2003. –

600s.; ill. color

6. Rome: Echo of Imperial Glory / Trans. from English T. Azarkovich. – M.:

TERRA, 1997. – 168 pp.: ill. – (Encyclopedia “Vanished Civilizations”)

one of the derivative orders of classical architecture. (Architecture: an illustrated reference book, 2005) * * * (Roman order) An architectural order derived from the Corinthian and Ionic, characterized by particular splendor; its characteristic element is a capital with four large volutes (as in the Ionic order), but with a vertical cylindrical core (as in the Corinthian order), which is surrounded by acanthus leaves in two levels. (Terms of Russian architectural heritage. Pluzhnikov V.I., 1995) * * * (Latin compositio - composition, connection), or COMPLEX, formed in the late period of Roman architecture. It is the result of a combination of elements of the Ionic and Corinthian orders. The basic proportions are the same as those of the Corinthian order, and the construction of the entablature is also similar. The capital formed by combining Corinthian and Ionic capitals represents excessive complexity and a clutter of forms. The composite order is emphatically decorative in nature. In the architecture of Russian classicism, variants of this order are reflected in the Narva Triumphal Gate (architect V.P. Stasov, 1833) and the Church of St. Catherine (architects J.-B. Vallin-Delamot and A. Rinaldi, 1783). (Dictionary of architectural terms. Yusupov E.S., 1994)

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