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109 Cards in this Set
- Front
- Back
- 3rd side (hint)
Henge |
Circular |
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Post |
The uprights of a doorway (the sides). |
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Lintel |
The cap of a doorway (the top). |
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Paleolithic |
Old stone age. |
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Mesolithic |
Middle stone age. |
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Neolithic |
New stone age. |
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Tencil strength |
The weight that something can bear. |
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Duality |
(Relating to deities) - the positive and negative (sometimes they're good, sometimes they're bad). |
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Social compact |
A contract for everyone to agree on. |
Thou shalt not kill. |
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Mud bricks |
Made from clay dried in the sun. |
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Obsidian |
Black volcanic glass (Used from Paleolithic ---> modern times for sharp blades.) |
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Lapis lazuli |
A bright blue metamorphic rock consisting largely of lazurite, used for decoration and in jewelry. |
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Diorite |
A very hard imported stone. |
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Crenellations |
Notched walls-the notches were called crenels-built as a part of military defenses. |
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Mushhushshu |
Horned dragons with the head and body of a snake, the forelegs of a lion, and the hind legs of a bird of prey. |
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Cuneiform |
Wedge shaped writing |
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Syncretism |
When a religion or culture adopts parts of another culture or religion. |
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Memory images |
The generic form that suggests a specific object. |
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Ankh |
The symbol of life. |
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Cartouche |
an oval formed by a loop of rope. |
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Faience |
Type of ceramic coverer with colorful, opaque glazes that form a smooth surface. |
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Peristyle court |
Surrounded in the exterior by a colonnade. |
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Hyppstyle hall |
Vast hall filled with columns |
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Sunken relief |
The outlines of the figures have been carved into the surface of the stone, instead of being formed by cutting away the background. |
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Ba |
Life source |
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Ka |
Soul after death |
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Necropolis |
City of the dead |
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Mastaba |
A burial ground for the wealthy |
Made for people who don't have enough money for a pyramid but are still rich. |
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Nemes headdress |
Worn only by the pharoah |
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Canopic jars |
Carved sandstone jars of Horus's sons |
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Obelisk |
Monument with hieroglyphs on its surface. |
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Crook |
Shepherd's staff |
Symbolizes pharoah's guidance and leadership |
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Flail |
Used to separate wheat plant parts; also a defensive weapon. |
Symbolizes strength and power. |
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Repousse |
The technique of hammering from behind to aform a shape. |
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Burn fresco |
Wet plaster |
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Fresco |
A painting technique in which water based pigments are applied to a surface of set plaster. The color ia absorbed by the plaster, becoming a permanent part of the wall. |
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Fresco secco |
Created by painting on dried plaster, and the color may flake off. |
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Amphora |
Vessel used for holding oil or wine, it had an egg shaped body and two curved handles. |
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Goldleaf |
Sheets of hammered gold. |
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Rhytons |
Vessels used for pouring liquids. |
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Shaft graves |
Vertical pits 20-25 ft deep |
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Tholos graves |
Large above-ground burial places. |
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Gilt |
Hammered gold used to cover objects. |
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Stoa |
A long roofed walkway usually having columns on one long side and a wall on the other. (Columned pavilion open on 3 sides.) |
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Slip |
A mixture of clay and water. |
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Pediment |
A triangular gable found over major architectural elements such as Classic Greek. |
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Façade |
The face or front wall of a building. |
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Cella |
The main interior room at the center of a Greek/Roman temple which contained the cult statue. |
Naos |
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Naos |
The main room in a temple or church. |
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Pronaos |
The enclosed hall of a Greek/Roman temple, found in front of the cella and marked by a row of columns at the entrance. |
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Olpe |
Wide-mouthed pitcher. |
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Rosette |
Stylized flower forms. |
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Gloss |
Clay slip mixed with metallic color pigments. |
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Peplos |
A draped rectangle of cloth, folded over at the top, pinned at the shoulders, and belted to give a bloused effect. |
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Encaustic painting |
A mixture of pigments and hot wax that left a shiny, hard surface when it cooled. |
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Foreshortening |
The illusion created on a flat surface in which figures appear to recede or project sharply into space |
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Contrapposto |
The cross balancing of supporting and free elements in a figure. |
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Caryatids |
Columns carved in the form of clothed women |
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Stele |
A stone slab placed vertically and decorated with inscriptions or reliefs. Used as a grave marker or memorial |
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Panathenaic amphora |
Only used for wine, body same as an amphora, but the mouth is smaller. |
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Hydria |
Used to hold water, body same as an amphora, but the neck was shorter b |
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Krater |
Vessel used to mix water and wine. |
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Lekythos |
Used to carry oil. Thin body, small mouth, and one handle. |
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Shaft |
The main vertical section of a column between the capital andbase, usually circular in the cross section. |
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Capital |
The sculpted block that tops a column. |
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Abacus |
The fat slab at the top of a capital. |
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Frieze |
One long band of carved structure. |
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Metopes |
The carved or painted rectangular panel between the triglyphs of a Doric frieze. |
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Triglyphs |
Rectangular blocks between the metopes of Doric frieze. |
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Entablature |
In the Classical orders: the horizontal elements above the columns and capitals. The entablature consists of, from bottom to top, an architrave, a frieze, and a cornice. |
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In situ |
In place; something that hasn't been moved from its original location. |
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Temple |
Dedicated to one deity |
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Sanctuary |
Dedicated to multiple or all deities. |
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Coffers |
A recessed decorative panel that is used to reduce weight of and to decorate ceilings or vaults. |
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Oculus |
Central opening |
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Tesserae |
Cubes of glass or stone |
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Emblemata |
Fine mosaic image panels; the elaborate central motif on a floor, usually a self-contained unit done in a more refined manner, with smaller tesserae of both marble and semiprecious stones. |
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Chimera |
An imaginary animal that is made up of incongruous parts |
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Aniconism |
Avoidance of figural imagery |
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Arabesque |
A type of linear surface declaration based on foliage and calligraphic forms usually characterized by flowing lines and swirling shapes |
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Galleries |
Stories open to and overlooking the naos. |
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Icon |
An image in any material representing a sacred figure or event in the Byzantine, and later the Orthodox, Church. Icons were respected by the faithful, who believed them to have miraculous powers to transmit messages to God. |
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Iconoclasm |
The banning or destruction of images, especially icons and religious art. |
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Iconostasis |
The partition screen in a Byzantine or Orthodox Church between the sanctuary and the body of the church. It displays icons. |
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Illumination |
A painting on paper or parchment used as illustration and/or decoration for manuscripts or albums. |
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Narthex |
The vestibule or entrance porch of a church. |
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Putto (putti) |
A plump, naked little boy, often winged. In classical art, called a cupid; in Christian art, a cherub. |
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Transept |
The arm of a cruciform church, perpendicular to the nave. |
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Crossing |
The point in a church where the nave and transept cross. |
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Axis mundi |
a concept of an "axis of the world," which marks sacred sites and denotes a link between human and celestial realms. |
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Barrel vault |
A enlongated or continuous semicircular vault, shaped like a half-cylinder. |
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Cornice |
A horizontally projecting element found at the top of the building or pedestal. |
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Finial |
A knob like decoration at the top point of a spire. |
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Incising |
A technique in which a design or inscription is cut into a hard surface with a sharp instrument. Such a surface is said to be incised. |
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Mandala |
An image of the cosmos represented by an arrangement of circles or concentric geometric shapes containing diagrams or images. Used for meditation and contemplation by Bhuddists. |
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Reliquary |
A container, often made of precious materials, used as a repository to protect and display sacred relics. |
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Stupa |
In Buddhist architecture, a bell-shapee or pyramidal religious monument, made if piled earth or stones, and containing sacred relics. |
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Bodhisattva |
In Buddhism, a being who has attained enlightenment but chooses to remain in this world in order to help others advance spiritually. |
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Naturalism |
A style of depiction that seeks to imitate the appearance of nature. A naturalistic work appears to record the visible world. |
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Idealized |
A process in art through which artists strive to make their own forms and figures attain perfection, based on pervading cultural values and/or their own mental image of beauty. |
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Cloister |
An open space, part of a monastery, surrounded by an arcaded or colonnaded walkway, often having a fountain and garden, and dedicated to non liturgical activities and the secular life of the religious. |
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Scriptorium (scriptoria) |
A room in a monastery for writing or copying manuscripts. |
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Vellum |
A dine animal skin prepared for writing and painting. |
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Vignette |
Each section of a stained glass window. |
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Pinnacle |
Cap of a flying buttress. |
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Corbel |
An early roofing and arching technique in which each course of stone projects slightly beyond the previous layer until the uppermost corbels meet. Results in a high, almost pointed arch or vault. A corbel table is a ledge supported by corbels. |
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Register |
A device used in systems of spatial definition. In painting, a register indicated the use of differing groundlines to differentiate layers of space within an image. In sculpture, the placement of self-contained bands of relief in a vertical arrangement. In printmaking, the marks at the edges used to align the print correctly on the page, especially in multiple-block color printing. |
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Grisaille |
A style of monochromatic painting in shades gray. Also: a painting made in this style. |
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Intuitive perspective |
A method of giving the impression of recession by visual instinct, not by the use of an overall system or program. |
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