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64 Cards in this Set
- Front
- Back
Aisle |
the portion of a basilica flanking the nave and separated from it by a row of columns or piers |
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apse |
A recess, usually semicircular, in the wall of a building, commonly found at the east end of a church. |
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arcade |
A series of arches supported by piers or columns |
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arch |
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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arriccio |
In fresco painting, the first layer of rough lime plaster applied to the wall |
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barrel vault |
A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in crosssection,is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. |
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basilica |
In Roman architecture, a civic building for legal and other civic proceedings, rectangular in plan with an entranceusually on a long side. In Christian architecture, a church somewhat resembling the Roman basilica, usuallyentered from one end and with an apse at the other |
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battlement |
A low parapet at the top of a circuit wall in a fortification |
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bay |
The space between two columns, or one unit in the nave arcade of a church; also the passageway in an arcuatedgate |
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buon fresco |
Painting on lime plaster, either dry (dry fresco or fresco secco) or wet (true or buon fresco). In the latter method,the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. Also, a paintingexecuted in either method. |
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campanile |
A bell tower of a church, usually, but not always, freestanding |
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capital |
The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture,the form of the capital varies with the order. |
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cathedral |
A bishop's church |
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chancel arch |
The arch separating the chancel (the apse or choir) or the transept from the nave of a church |
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clerestory |
The fenestrated part of a building that rises above the roofs of the other parts. The oldest known clerestories areEgyptian. In Roman basilicas and medieval churches, clerestories are the windows that form the nave’suppermost level below the timber ceiling or the vaults |
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column |
A vertical, weight-carrying architectural member, circular in cross-section and consisting of a base (sometimesomitted), a shaft, and a capital |
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confraternity |
In late antiquity, an association of Christian families pooling funds to purchase property for burial. In late medievalEurope, an organization founded by laypersons who dedicated themselves to strict religious observances. |
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corbel |
A projecting wall member used as a support for some element in the superstructure. Also, courses of stone orbrick in which each course projects beyond the one beneath it. Two such walls, meeting at the topmost course,create a corbeled arch or corbeled vault. |
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Corinthiancapital |
A more ornate form than Doric or Ionic; it consists of a double row of acanthus leaves from which tendrils andflowers grow, wrapped around a bell-shaped echinus. Although this capital form is often cited as thedistinguishing feature of the Corinthian order, there is, strictly speaking, no Corinthian order, but only this style ofcapital used in the Ionic order |
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crossing |
The space in a cruciform church formed by the intersection of the nave and the transept. |
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cruciform |
Cross shaped |
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façade |
Usually, the front of a building; also, the other sides when they are emphasized architecturally |
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florin |
The denomination of gold coin of Renaissance Florence that became an international currency for trade. |
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foreshortening |
The use of perspective to represent in art the apparent visual contraction of an object that extends back in spaceat an angle to the perpendicular plane of sight |
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fresco |
Painting on lime plaster, either dry (dry fresco or fresco secco) or wet (true or buon fresco). In the latter method,the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. Also, a paintingexecuted in either method |
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fresco secco |
Painting on lime plaster, either dry (dry fresco or fresco secco) or wet (true or buon fresco). In the latter method,the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. Also, a paintingexecuted in either method. |
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giornata (pl.giornate) |
Italian, “day.” The section of plaster that a fresco painter expects to complete in one session. |
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Gothic |
Originally a derogatory term named after the Goths, used to describe the history, culture, and art of westernEurope in the 12th to 14th centuries. |
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grisaille |
A monochrome painting done mainly in neutral grays to simulate sculpture. |
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Guild |
An association of master craftspeople, apprentices, and tradespeople |
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humanism |
In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity),the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moralduty. |
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icon |
A portrait or image; especially in Byzantine churches, a panel with a painting of sacred personages that areobjects of veneration. In the visual arts, a painting, a piece of sculpture, or even a building regarded as an objectof veneration. |
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illuminatedmanuscript |
A luxurious handmade book with painted illustrations and decorations. |
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InternationalStyle |
A style of 14th- and 15th-century painting begun by Simone Martini, who adapted the French Gothic manner toSienese art fused with influences from the North. This style appealed to the aristocracy because of its brilliantcolor, lavish costume, intricate ornament, and themes involving splendid processions of knights and ladies. Also astyle of 20th-century architecture associated with Le Corbusier, whose elegance of design came to influence thelook of modern office buildings and skyscrapers |
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intonaco |
In fresco painting, the last layer of smooth lime plaster applied to the wall; the painting layer. |
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machiolatedgallery |
A gallery in a defensive tower with holes in the floor to allow stones or hot liquids to be dumped on enemiesbelow. |
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maniera greca |
Italian, “Greek manner,” The Italo-Byzantine painting style of the 13th century. |
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Mass |
The Catholic and Orthodox ritual in which believers understand that Christ’s redeeming sacrifice on the cross isrepeated when the priest consecrates the bread and wine in the Eucharist |
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mendicants |
In medieval Europe, friars belonging to the Franciscan and Dominican orders, who renounced all worldly goods,lived by contributions of laypersons (the word mendicant means "beggar"), and devoted themselves to preaching,teaching, and doing good works |
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monastic order |
An organization of monks living according to the same rules, for example, the Benedictine, Franciscan, andDominican or |
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naturalism |
The style of painted or sculptured representation based on close observation of the natural world that wasat the core of the classical tradition |
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nave |
The central area of an ancient Roman basilica or of a church, demarcated from aisles by piers or columns. |
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oculus |
Latin, "eye." The round central opening of a dome. Also, a small round window in a Gothic cathedral |
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ogee arch |
An arch made up of two double-curving lines meeting at a point. |
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ogive (adj.,ogival) |
The diagonal rib of a Gothic vault; a pointed, or Gothic, arch |
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parapet |
A low protective wall along the edge of a balcony or roof. |
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perspective |
A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. In linearperspective, the most common type, all parallel lines or surface edges converge on one, two, or threevanishing points located with reference to the eye level of the viewer (the horizon line of the picture), andassociated objects are rendered smaller the farther from the viewer they are intended to seem.Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of colorintensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intendeddistance between eye and object increases. |
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pier |
A vertical, freestanding masonry support. |
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pinnacle |
In Gothic churches, a sharply pointed ornament capping the piers or flying buttresses; also used on churchfacades. |
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predella |
The narrow ledge on which an altarpiece rests on an altar |
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pulpit |
A raised platform in a church on which a priest stands while leading the religious service |
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punchwork |
Tooled decorative work in gold leaf. |
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revetment |
In architecture, a wall covering or facing. |
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rose window |
A circular stained-glass window |
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sarcophagus |
Latin, "consumer of flesh."A coffin, usually of stone. |
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sinopia |
A burnt-orange pigment used in fresco painting to transfer a cartoon to the arriccio before the artist paintsthe plaster. |
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stigmata |
In Christian art, the wounds that Christ received at his crucifixion that miraculously appear on the body of asaint. |
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tempera |
A technique of painting using pigment mixed with egg yolk, glue, or casein; also the medium itself |
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tracery |
Ornamental stonework for holding stained glass in place, characteristic of Gothic cathedrals. In platetracery the glass fills only the "punched holes" in the heavy ornamental stonework. In bar tracery thestained-glass windows fill almost the entire opening, and the stonework is unobtrusive |
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tramezzo |
A screen placed across the nave of a church to separate the clergy from the lay audience. |
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transept |
The part of a church with an axis that crosses the nave at a right angle. |
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trefoil |
A cloverlike ornament or symbol with stylized leaves in groups of three. |
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triptych |
A three-paneled painting or altarpiece. |
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vault |
A masonry roof or ceiling constructed on the arch principle. |