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| The portion of a basilica flanking the nave and separated from it by a row of columns or piers. |
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| A panel, painted or sclupted, situated above and behind an altar. |
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| A series of arches supported by piers or columns. |
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| A curved structural member that spans an opening and is generally composed of wedge-shaped blocks (voussoirs) that transmit the downward pressure laterally. |
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| The first, rough layer of lime plaster in fresco painting. |
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| In Christian architecture, the building used for baptism, usually situated next to a church. |
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| In Roman architecture, a civic building for legal and other civic proceedings, rectangular in plan with an entrance usually on a long side. In Chrisitan architecture, a church somewhat resembling the Roman basilica, usually entered from one end and with an apse at the other. |
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| A composition or plan in which the parts are the same on either side of an axis. |
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| A pointed tool used for engraving or incising. |
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| An ancient city of Thrace on the site of present-day Istanbul, Turkey. It was founded by the Greeks in the seventh century B.C. and taken by the Romans in A.D. 196. Constantine I ordered the rebuilding of the city in 330 and renamed it Constantinople. |
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| A bell tower of a church, usually, but not always, freestanding. |
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| The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the captial varies with the order. |
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| In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling. |
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| The fenestrated part of a builing that rises above the roofs of the other parts. In Roman basilicas and medieval churches, the windows that form the nave's uppermost level below the timber ceiling or the vaults. |
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| A sunken panel, often ornamental, in a vault or a ceiling. |
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| A series or row of columns, usually spanned by lintels. |
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| A vertical, weight-carrying architectural member, circular in cross-section and consisting of a base, a shaft, and a capital. |
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| A professional military leader employed by the Italian city-states in the early Renaissance. |
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| In art, a continuous line defining the outer shape of an object. |
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| The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called "weight shift" because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. |
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| The projecting, crowning member of the entablature from the pediment; also any crowning projection. |
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| The space in a cruciform church formed by the intersection of the nave and the transept. |
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| The area in a church formed by the intersection (crossing) of a nave and transept of equal width, often used as a standard module of interior proportion. |
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| Italian, "from below upwards." A technique of representing perspective in ceiling painting. |
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| A hemispheric vault; theoretically, an arch rotated on its vertical axis. |
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| A figure painted or sculpted to show the muscles of the body as if without skin. |
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| The process of incising a design in hard material, often a metal plate (usually copper); also, the print or impression made from such a plate. |
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| The part of a building above the columns and below the roof. The entablature of a classical temple has three parts: architrave or epistyle, frieze, and pediment. |
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| Usually, the front of a building; also, the other sides when they are emphasized architecturally. |
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| The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. |
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| Painting on lime plaster, either dry or wet. In the latter method, the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. |
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| A style or category of art; also, a kind of painting that realistically depicts scenes from everyday life. |
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| A prepared surface of plaster or plasterlike material for painting, gilding, etc. |
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| Italian, "day." The section of plaster that a fresco painter expects to complete in one session. |
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| A vitreous coating applied to pottery to seal and decorate the surface; it may be colored, transparent, or opaque, and glossy or matte. In oil painting, a thin, transparent, or semitransparent layer put over a color to alter it slightly. |
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| A technique used in drawing and in printmaking methods such as engraving and woodcut, in which fine lines are cut or drawn close together to achieve an effect of shading. |
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| hierarchy of size or scale |
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| In the Renaissance, an emphasis on education and on expanding knowledge, the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty. |
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| A portrait or image; especially in Byzantine art, a panel with a painting of sacred personages that are object of veneration. In the visual arts, a painting, a piece of sculpture, or even a building regarded as an object of veneration. |
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| Greek, the "writing of images." The term refers both to the content, or subject, of an artwork and to the study of content in art. It also includes the study of the symbolic, often religious, meaning of objects, persons, or events depicted in works of art. |
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| A graphic technique in which the design is incised, or scratched, on a metal plate, either manually (engraving, drypoint) or chemically (etching). The incised lines of the design take the ink, making this the reverse of the woodcut technique. |
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| A style of 14th and 15th century painting begun by Simone Martini, who adapted the French Gothic manner to Sienese art fused with influences from the North. This style appealed to the aristocracy because of its brilliant color, lavish costume, intricate ornament, and themes involving splendid processions of knights and ladies. Also a style of 20th century architecture associated with Le Corbusier, whose elegance of design came to influence the look of modern office buildings and skyscrapers. |
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| The final,smooth layer of plaster in fresco painting. |
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| A tall, more or less open construction admitting light to an enclosed area below. |
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| A beam used to span an opening. |
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| Italian, "Greek style." THe Italo-Byzantine style of painting of the 13th century. |
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| The material (for example, marble, bronze, clay, fresco) in which an artist works; also, in painting, the vehicle (usually liquid) that carries the pigment. |
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| A reminder of human mortality, usually represented by a skull. |
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| The shaping or fashioning of three-dimensional forms in a soft material, such as clay; also, the gradations of light and shade reflected from the surfaces of matter in space, or the illusion of such gradations produced by alterations of value in a drawing, painting, or print. |
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| A basic unit of which the dimensions of the major parts of a work are multiples. The principle is used in sculpture and other art forms, but it is most often employed in architecture, where the module may be the dimensions of an important part of a building, such as the diameter of a column. |
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| In architecture, a continuous, narrow surface (projecting or recessed, plain or ornamented) designed to break up a surface, to accent, or to decorate. |
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| The central area of an ancient Roman basilica or of a church, demarcated from aisles by piers or columns. |
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| In basilica architecture, the series of arches supported by piers or columns separating the nave from the aisles. |
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| The diagonal rib of a Gothic vault; a pointed, or Gothic, arch. |
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| In classical architecture, a style represented by a characteristic design of the columns and entablature. |
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| A line imagined to be behind and perpendicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon. |
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| In classical architecture, the triangular space at the end of a building, formed by the ends of the sloping roof above the colonnade; also, an ornamental feature having this shape. |
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| A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. |
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| The most common type of perspective, all parallel lines or surface edges converge on one, tow or three vanishing points located with reference to the eye level of the viewer, and associated objects are rendered smaller the farther from the viewer they are intended to seem. |
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| atmospheric, or aerial, perspective |
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| Creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases. |
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| A vertical, freestanding masonry support. |
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| A painted or sculpted representation of the Virgin Mary mourning over the body of the dead Christ. |
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| A flat, rectangular, vertical member projecting from a wall of which it forms a part. It usually has a base and a capital and is often fluted. |
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| Vertical channeling, roughly semicircular in cross-section and used principally on columns and pilasters. |
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| The horizontal arrangement of the parts of a building or of the buildings and streets of a city or town, or a drawing or diagram showing such an arrangement. |
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| The parts of a building are organized longitudinally, or along a given axis. |
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| The part of the structure are of equal or almost equal dimensions around the center. |
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| The narrow ledge on which an altarpiece rests on an altar. |
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| Red, yellow, and blue--the colors from which all other colors may be derived. |
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| A shape or plan in which the parts assume the form of a cloverleaf. |
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| In sculpture, figures projecting from a background of which they are part. The degree of relief is designated high, low(bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself. |
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| A relatively slender, molded masonry arch that projects from a surface. In Gothic architecture, the ribs form the framework of the vaulting. A diagonal rib is one of the ribs that form the X of a grain vault. A transverse rib crosses the nave or aisle at a 90-degree angle. |
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| To give a rustic appearance by roughening the surfaces and beveling the edges of stone blocks to emphasize the joints between them. Rustication is a technique employed in ancient Roman architecture, and popular during the Renaissance, especially for stone courses at the ground-floor level. |
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| Latin, "consumer of flesh." A coffin, usually of stone. |
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| A chonological and stylistic classification of works of art with a stipulation of place. |
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| Freestanding figures, carved or modeled in three dimensions. |
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| A smokelike haziness that subtly softens outlines in painting; particularly applied to the painting of Leonardo and Correggio. |
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| The tall, cylindrical part of a column between the capital and the base. |
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| The burnt-orange pigment used in drawing on the arriccio in fresco painting. |
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| A raised horizontal molding, or band in masonry, ornamental but usually reflecting interior structure. |
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| Orders of architecture that are place one above another in an arcaded or colonnaded building. Superimposed orders are found in later Greek architecture and were used widely by Roman and Renaissance builders. |
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| A technique of painting using pigment mixed with egg yolk, glue, or casein; also the medium itself. |
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| Hard-baked clay, used for sculpture and as a building material. It may be glazed or painted. |
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| A circular painting of relief sculpture, also called a roundel. |
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| The part of a church with an axis that crosses the nave at a right angle. |
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| A cloverlike ornament or symbol with stylized leaves in groups of three. |
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| French, "fools the eye." A form of illusionistic painting that aims to deceive viewers into believing that they are seeing real objects rather than a representation of those objects. |
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| The point on which all orthogonal lines converge in a composition employing one-point perspective. |
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| A masonry roof or ceiling constructed on the arch principle. |
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| Semicylindrical in cross-section, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. |
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