-The author and the work:
Pollio Vitruvius (80-70 BC -. C 15 BC) was an important architect, engineer and theoretician Roman, of unknown origin. Normally it attached to it have been born in Verona, although it is said that in Formia and Fondi can be found in its origin. Having worked in both army soldier as an engineer in the expansive campaigns dictator Julius Caesar, later he collaborated with him as an architect and engineer again, and finally with the Emperor Augustus in the same tasks. He felt a lifelong subsidy was granted so as Augustus Caesar, because he had the esteem builder. His only known work is De Architectura Libri decem, translated into Spanish as The Ten Books of Architecture. It is a treaty by which Vitruvius makes a deep recopiladora work on all matters pertaining to previous architecture of its time (and therefore mainly Greek), as well as their time, with the aim of establishing default rules for contemporary construction
The Ten Books of Architecture, according to Vitruvius, are the result of the accumulation and subsequent regulation of the different theories of architecture coming from both his contemporary and past. 1. ''The treaty is a sort of compendium of other texts, often monographs on some Hellenistic buildings, whose authors, especially Hermogenes frequently mentioned, but also documents some aspects of the architectural tradition of the Republic and the beginning Empire, with special attention to construction and technical problems of architecture. Grant, as claimed Vitruvius, a theoretical status in architecture basing on many occasions, in older cookbooks of Greek origin, affects not only the same character and order of the treaty, but, above all, to the summary of several of his descriptions . Descriptions, ultimately, end up becoming the prime excuse the editors and commentators later to confirm the accuracy of their performances and show that had penetrated the secret, in theory, the architecture itself.''
1. VITRUVIO (Author), Oliver Dominguez, Jose Luis (translation). RODRIGUEZ RUIZ, Dolphin (prologue). The ten books of architecture. Cast Ed .: Alianza Editorial, SA, Madrid, 1995, 1997. Pp. 10.
The work is divided, as its name suggests, in ten books. While the first seven books that deal with architecture itself, the other three involve doctrines that have more to do with astronomy and engineering. This fact is necessary to appreciate the work Vitruvian separated into three distinct parts:. The building (including a turn for the beauty (venustas), firmness (firmitas) and utility (utilitas) gnomonics and mechanics however , all of them are concerning architecture and fundamental to understand and create.
Pollio Vitruvius (80-70 BC -. C 15 BC) was an important architect, engineer and theoretician Roman, of unknown origin. Normally it attached to it have been born in Verona, although it is said that in Formia and Fondi can be found in its origin. Having worked in both army soldier as an engineer in the expansive campaigns dictator Julius Caesar, later he collaborated with him as an architect and engineer again, and finally with the Emperor Augustus in the same tasks. He felt a lifelong subsidy was granted so as Augustus Caesar, because he had the esteem builder. His only known work is De Architectura Libri decem, translated into Spanish as The Ten Books of Architecture. It is a treaty by which Vitruvius makes a deep recopiladora work on all matters pertaining to previous architecture of its time (and therefore mainly Greek), as well as their time, with the aim of establishing default rules for contemporary construction
The Ten Books of Architecture, according to Vitruvius, are the result of the accumulation and subsequent regulation of the different theories of architecture coming from both his contemporary and past. 1. ''The treaty is a sort of compendium of other texts, often monographs on some Hellenistic buildings, whose authors, especially Hermogenes frequently mentioned, but also documents some aspects of the architectural tradition of the Republic and the beginning Empire, with special attention to construction and technical problems of architecture. Grant, as claimed Vitruvius, a theoretical status in architecture basing on many occasions, in older cookbooks of Greek origin, affects not only the same character and order of the treaty, but, above all, to the summary of several of his descriptions . Descriptions, ultimately, end up becoming the prime excuse the editors and commentators later to confirm the accuracy of their performances and show that had penetrated the secret, in theory, the architecture itself.''
1. VITRUVIO (Author), Oliver Dominguez, Jose Luis (translation). RODRIGUEZ RUIZ, Dolphin (prologue). The ten books of architecture. Cast Ed .: Alianza Editorial, SA, Madrid, 1995, 1997. Pp. 10.
The work is divided, as its name suggests, in ten books. While the first seven books that deal with architecture itself, the other three involve doctrines that have more to do with astronomy and engineering. This fact is necessary to appreciate the work Vitruvian separated into three distinct parts:. The building (including a turn for the beauty (venustas), firmness (firmitas) and utility (utilitas) gnomonics and mechanics however , all of them are concerning architecture and fundamental to understand and create.
-The Treated for History:
The work of Vitruvius, which was dedicated to the Emperor Augustus in 15 BC, who ruled from 43 BC and 14 AD, is also symbol of the power of attorney of the Empire. The emperor took advantage of the ten books of architecture to perform the magnificentia public, namely, the promotion of numerous public works in order to attest to the importance of his government. Augusto sought the affections of the people, but especially the aristocracy, as the transition from Republic to Empire which he defined was not easy to determine because the dictatorship of Julius Caesar and his tragic end. So it did amount of architectural, construction and engineering due to the accumulated wealth and his austere life. Based on the Vitruvian doctrine, his legacy, in this case material, it was remembered to this day and revered throughout all periods of history.
2. ''The books of Vitruvius were well known in the Middle Ages, however, were useless to the Gothic architects who observed the ancient canons, so gradually they were forgotten. And when on the threshold of the Renaissance (1414) were rediscovered in the library of Monte Cassino seemed a revelation. Thus, they were published in 1485, and in 1521 and 1556 were published in Italian versions, whichever translation into Cesariano and Daniele Barbaro, respectively. Widely read and admired, which originated in 1542 founded the Vitruvian Academy in Rome ''
2. Tatarkiewicz, Władysław. History of aesthetics III: The modern aesthetic, 1400-1700. Ediciones Akal, SA, Madrid, 1991, 2004. Pp: 52.
According to the passage of Tatarkiewicz, the treaty was already known in the Middle Ages, which means that perpetuated since its inception due to the importance of the rules set by the author, and although in his own time, not so very recognized. However, at this time in history the artistic canons of Greco-Roman heritage is fundamentally still in Byzantine art (not completely), while in the West, especially in the High Middle Ages, Romanesque and Gothic style, which were decontextualized classic standard, dominant in the art. It was not until the Italian Renaissance when carrying out a recovery of Greco-Roman past, especially looking at the Classical Greece, which will lead to the translation of the Vitruvian work. Leon Battista Alberti, even to critique books, used as a basis for re aedificatoria In his treatise on architecture. On the other hand, Lorenzo Ghiberti, by the third book of his Commentarii, will study human proportion using the Vitruvian theory. Apart from that, it will use the vision of the Roman to clarify his concept of the ideal artist: one who dominates various fields of knowledge that are essential for estis years (arithmetic, history, medicine and philosophy). The truth is that throughout the Renaissance and continuing perfectly for the modern age and over, emerge various translators and commentators of Vitruvius throughout the West.
Through his work he could know better the classical period of Greek art, and despite myths, comments and anecdotes that includes Vitruvius in his books (also useful, though), the science base and preset rules with them will be Fundamental to cause various artistic periods (Renaissance, baroque, neoclassical ...), in a more global view.
The Vitruvian treaty also proved to be a first philosophy of architecture that influence to later artists, such as the named Leon Battista Alberti, to develop their own theories. Even he will not only understand the architecture, but also for reedescubrir the original architectural forms of Classical Greece. Authors such as Alberti said Vitruvian experience with texts in order to compare the accuracy of their claims by studying the ruins of various buildings. In this way, it allowed to advance not only the architectural and artistic, but also the archaeological knowledge, and indeed, from the Renaissance is gradually brewing this discipline.
-Analysis of the passage:
''The ornament is a correct aspect of the work or construction consisting of regular elements, assembled with beauty. It is achieved by perfecting ritual standard (This is the rules that applied to raise the temple priests according to the peculiarities of each deity) in Greek thematismo-, with practice, or the nature of the place. Looking at the standard ritual temples are erected to Jupiter Thunderer, the sky, the sun, the moon: it is raised temples bare, open; In fact, the appearance and beauty of the gods contemplate cited the ostensibly open. To Minerva, Mars and Hercules Doric temples will arise because it suits these gods, without any luxury, due to his manly strength. For Venus, Flora, Proserpine and temples will Naiads Corinthians, because they have qualities suitable for its delicacy as they are slender temples adorned with flowers, leaves and scrolls that appear to increase the splendor of such deities. If Ionic temple to Juno, Diana, Bacchus and other similar deities rise, a compromise will be achieved because they have characteristics that soften the very austere nature of Doric and Corinthian delicacy.''
This passage is Chapter II (What elements consists architecture) the first book of De Architectura Libri decem, Vitruvius. In this fragment specifically talking ornament or decorum, that is the decoration that will present the architectural work. The ornament is the last of the elements of the theoretical architecture or ratiocinatio is composed by Vitruvius, being preceded by the organization, which is the first eurythmy and symmetry, and being continued by the latter, ie, distribution . These components define the theoretical architecture, and through monitoring, would be achieved perfectly execute any construction. In turn, the ratiocinatio is faithful to the three pillars of the philosophy of the building within the architecture of Vitruvius: beauty (venustas), firmness (firmitas) and Utility (Utilitas). The ornament would have more to do with beauty, as is the decor that will work to ensure the consistency of their appearance with where it is located and its functions. This decoration, in fact, is governed by ritual called normal, so it is not arbitrary. Nor is a decision of the architect fruit of your taste and preferences. The ritual rule (Latin ritus: religious ceremony) is preset by religion. In fact, the various ornaments, which can also identify with the three levels established by Vitruvius in later chapters (Doric, Ionic and Corinthian in the order in which they appear in the text), can be associated with certain deities.
Thus, the temples show a concrete ornament by type of god they are engaged. It is very interesting to know the Vitruvian view of each divinity, for this author who defines and classifies the gods by distributing the various architectural orders. However, there would be a series of celestial considered gods (like Jupiter Thunderer, ie, thunder), and astral deities (Sky, Sun, Moon) that could not be typecast in one order. Thus, their temples detailing all Vitruvius is that ceiling would not because the gods they are enshrined are heavenly. Therefore, the sky could be appreciated by the priests of the place was a must, because in that sky reflected the deities worshiped. Andrea Palladio, another important Renaissance architect recovery of classical forms, which was not cited in the section '' The treaty in history '' to take now their vision, will provide more information about this type of temples in his work '' The Four Books of Architecture '' 3. '' So the Sun and the Moon as rotate continuously around the world and with this their turn produce effects at all obvious, did the temples of round or, at least, which approximated roundness. And so Vesta, which said it was goddess of the Earth, which we know is a round element. A Jupiter, as god of the air and sky, he made temples discovered in the middle, with porches around ... '' As Palladio describes these types of temples could link directly to the tholoi: temples plant circle and surrounded by a colonnade. This idea is reinforced by the fact that Palladio says of them (specifically dedicated to Jupiter) that '' are caught in the middle, with porches around. ''
3. PALLADIO, Andrea (Author), DE ALIPRANDINI, Luisa, CRESPO MARTINEZ, Alicia, (translation). The four books on architecture. Ediciones Akal, SA, Madrid, 1998, 2008. Pp: 342.
Therefore, to remember tholoi greatly, although not labeled differently accurately. Therefore, for the rest of the architectural style deities should be more or less the same, due to the aforesaid importance of the vision of the sky. The passage of Palladio also draws attention to the inclusion of other god, Vesta, which does not name Vitruvius. This was because in the modern age, which the architect, advances in astronomical knowledge, aided largely by expeditions around the world, they allowed the corroboration of the sphericity of the Earth belongs. You may thus, Palladio equated with the goddess Vesta Terra Mater. However, it seems that resembled the wrong way, because Vesta is theoretically goddess of fire and hearth, and Terra Mater is paramount chthonic goddess who embodies the Earth.
The work of Vitruvius, which was dedicated to the Emperor Augustus in 15 BC, who ruled from 43 BC and 14 AD, is also symbol of the power of attorney of the Empire. The emperor took advantage of the ten books of architecture to perform the magnificentia public, namely, the promotion of numerous public works in order to attest to the importance of his government. Augusto sought the affections of the people, but especially the aristocracy, as the transition from Republic to Empire which he defined was not easy to determine because the dictatorship of Julius Caesar and his tragic end. So it did amount of architectural, construction and engineering due to the accumulated wealth and his austere life. Based on the Vitruvian doctrine, his legacy, in this case material, it was remembered to this day and revered throughout all periods of history.
2. ''The books of Vitruvius were well known in the Middle Ages, however, were useless to the Gothic architects who observed the ancient canons, so gradually they were forgotten. And when on the threshold of the Renaissance (1414) were rediscovered in the library of Monte Cassino seemed a revelation. Thus, they were published in 1485, and in 1521 and 1556 were published in Italian versions, whichever translation into Cesariano and Daniele Barbaro, respectively. Widely read and admired, which originated in 1542 founded the Vitruvian Academy in Rome ''
2. Tatarkiewicz, Władysław. History of aesthetics III: The modern aesthetic, 1400-1700. Ediciones Akal, SA, Madrid, 1991, 2004. Pp: 52.
According to the passage of Tatarkiewicz, the treaty was already known in the Middle Ages, which means that perpetuated since its inception due to the importance of the rules set by the author, and although in his own time, not so very recognized. However, at this time in history the artistic canons of Greco-Roman heritage is fundamentally still in Byzantine art (not completely), while in the West, especially in the High Middle Ages, Romanesque and Gothic style, which were decontextualized classic standard, dominant in the art. It was not until the Italian Renaissance when carrying out a recovery of Greco-Roman past, especially looking at the Classical Greece, which will lead to the translation of the Vitruvian work. Leon Battista Alberti, even to critique books, used as a basis for re aedificatoria In his treatise on architecture. On the other hand, Lorenzo Ghiberti, by the third book of his Commentarii, will study human proportion using the Vitruvian theory. Apart from that, it will use the vision of the Roman to clarify his concept of the ideal artist: one who dominates various fields of knowledge that are essential for estis years (arithmetic, history, medicine and philosophy). The truth is that throughout the Renaissance and continuing perfectly for the modern age and over, emerge various translators and commentators of Vitruvius throughout the West.
Through his work he could know better the classical period of Greek art, and despite myths, comments and anecdotes that includes Vitruvius in his books (also useful, though), the science base and preset rules with them will be Fundamental to cause various artistic periods (Renaissance, baroque, neoclassical ...), in a more global view.
The Vitruvian treaty also proved to be a first philosophy of architecture that influence to later artists, such as the named Leon Battista Alberti, to develop their own theories. Even he will not only understand the architecture, but also for reedescubrir the original architectural forms of Classical Greece. Authors such as Alberti said Vitruvian experience with texts in order to compare the accuracy of their claims by studying the ruins of various buildings. In this way, it allowed to advance not only the architectural and artistic, but also the archaeological knowledge, and indeed, from the Renaissance is gradually brewing this discipline.
-Analysis of the passage:
''The ornament is a correct aspect of the work or construction consisting of regular elements, assembled with beauty. It is achieved by perfecting ritual standard (This is the rules that applied to raise the temple priests according to the peculiarities of each deity) in Greek thematismo-, with practice, or the nature of the place. Looking at the standard ritual temples are erected to Jupiter Thunderer, the sky, the sun, the moon: it is raised temples bare, open; In fact, the appearance and beauty of the gods contemplate cited the ostensibly open. To Minerva, Mars and Hercules Doric temples will arise because it suits these gods, without any luxury, due to his manly strength. For Venus, Flora, Proserpine and temples will Naiads Corinthians, because they have qualities suitable for its delicacy as they are slender temples adorned with flowers, leaves and scrolls that appear to increase the splendor of such deities. If Ionic temple to Juno, Diana, Bacchus and other similar deities rise, a compromise will be achieved because they have characteristics that soften the very austere nature of Doric and Corinthian delicacy.''
This passage is Chapter II (What elements consists architecture) the first book of De Architectura Libri decem, Vitruvius. In this fragment specifically talking ornament or decorum, that is the decoration that will present the architectural work. The ornament is the last of the elements of the theoretical architecture or ratiocinatio is composed by Vitruvius, being preceded by the organization, which is the first eurythmy and symmetry, and being continued by the latter, ie, distribution . These components define the theoretical architecture, and through monitoring, would be achieved perfectly execute any construction. In turn, the ratiocinatio is faithful to the three pillars of the philosophy of the building within the architecture of Vitruvius: beauty (venustas), firmness (firmitas) and Utility (Utilitas). The ornament would have more to do with beauty, as is the decor that will work to ensure the consistency of their appearance with where it is located and its functions. This decoration, in fact, is governed by ritual called normal, so it is not arbitrary. Nor is a decision of the architect fruit of your taste and preferences. The ritual rule (Latin ritus: religious ceremony) is preset by religion. In fact, the various ornaments, which can also identify with the three levels established by Vitruvius in later chapters (Doric, Ionic and Corinthian in the order in which they appear in the text), can be associated with certain deities.
Thus, the temples show a concrete ornament by type of god they are engaged. It is very interesting to know the Vitruvian view of each divinity, for this author who defines and classifies the gods by distributing the various architectural orders. However, there would be a series of celestial considered gods (like Jupiter Thunderer, ie, thunder), and astral deities (Sky, Sun, Moon) that could not be typecast in one order. Thus, their temples detailing all Vitruvius is that ceiling would not because the gods they are enshrined are heavenly. Therefore, the sky could be appreciated by the priests of the place was a must, because in that sky reflected the deities worshiped. Andrea Palladio, another important Renaissance architect recovery of classical forms, which was not cited in the section '' The treaty in history '' to take now their vision, will provide more information about this type of temples in his work '' The Four Books of Architecture '' 3. '' So the Sun and the Moon as rotate continuously around the world and with this their turn produce effects at all obvious, did the temples of round or, at least, which approximated roundness. And so Vesta, which said it was goddess of the Earth, which we know is a round element. A Jupiter, as god of the air and sky, he made temples discovered in the middle, with porches around ... '' As Palladio describes these types of temples could link directly to the tholoi: temples plant circle and surrounded by a colonnade. This idea is reinforced by the fact that Palladio says of them (specifically dedicated to Jupiter) that '' are caught in the middle, with porches around. ''
3. PALLADIO, Andrea (Author), DE ALIPRANDINI, Luisa, CRESPO MARTINEZ, Alicia, (translation). The four books on architecture. Ediciones Akal, SA, Madrid, 1998, 2008. Pp: 342.
Therefore, to remember tholoi greatly, although not labeled differently accurately. Therefore, for the rest of the architectural style deities should be more or less the same, due to the aforesaid importance of the vision of the sky. The passage of Palladio also draws attention to the inclusion of other god, Vesta, which does not name Vitruvius. This was because in the modern age, which the architect, advances in astronomical knowledge, aided largely by expeditions around the world, they allowed the corroboration of the sphericity of the Earth belongs. You may thus, Palladio equated with the goddess Vesta Terra Mater. However, it seems that resembled the wrong way, because Vesta is theoretically goddess of fire and hearth, and Terra Mater is paramount chthonic goddess who embodies the Earth.
Temple of Vesta, an initiative of Numa Pompilius in Rome
However, the fact is that the gesture of including Vesta is not at all wrong. And reaffirms the nineteenth-century historian Cesare Cantu, who determines that Numa Pompilius, second king of Rome, built the Temple of Vesta circular in shape, and this aspect would be the back of Vesta in Rome near the Tiber River. Therefore, one could say that the circular shape is typical of Vesta from Greco-Roman times, although Vitruvius not say this. Thus, Palladio is successful. Cantu, moreover, provides a lot of models monopteros temples making use, for example classical sources such as Pausanias. And, 4. '' in Greece were few temples terminated round domes, and Pausanias indicates only six; although there were only three that were true temples; a sanctuary near the temple of Asklepios at Epidaurus, the Calcieco of Sparta and Mantinea ... In Thrace became round the Sun Temple, to refer to your disk. The Romans had many rounds, imitated the Numa erected Vesta, for symbolic expression, and there are many of this kind, as in Rome Vesta, along the Tiber, Romulus (San Teodoro), the Romulus and Remus ( Saints Cosmas and Damian), the Minerva Medica; that of the Sibyl at Tivoli, the Venus Mother and Mercury near Pozzuoli. '' Thanks to the information given Cantu, it is known that the circular temples were not abundant in Greece, which is totally true, and that is not always treated temples in the purest sense of the word, since they could be shrines, for instance. The temples themselves monopteros proliferated in Rome, but eventually ended decoupling of those gods that according to Vitruvius should be dedicated and consecrated to pass Minerva, Venus or the founders of Rome, Romulus and Remus, who no longer have anything to do with the deity.
4. Cantu, CESAR (author), Fernandez Cuesta, Nemesio (translation). World history, volume VII. Printing Gaspar and Roig, Madrid, 1866. Pp: 482.
Historian and discloses that, in reality, there is no precise knowledge about the types of temples to Vitruvius refers in the passage. Its low accuracy has led to many conclusions in later centuries are removed, seeking to discover not only the appearance of these temples (confirmed as monopteros), but also what gods were consecrated.
Through Cantu also it is known how Vitruvius worth many times not of the Greek sources, but from the Roman and even contemporary, because, as stated earlier, monopteros or tholos temples are recreated more often in Rome. Finally, his vision helps to understand that the treatise predetermines both temples such as the other for a number of gods, and yet, this rule is not taken into account on many occasions. Hence there monopteros temples dedicated to the Mother Venus, for example, which is responsible for the Corinthian order, as will be seen below.
4. Cantu, CESAR (author), Fernandez Cuesta, Nemesio (translation). World history, volume VII. Printing Gaspar and Roig, Madrid, 1866. Pp: 482.
Historian and discloses that, in reality, there is no precise knowledge about the types of temples to Vitruvius refers in the passage. Its low accuracy has led to many conclusions in later centuries are removed, seeking to discover not only the appearance of these temples (confirmed as monopteros), but also what gods were consecrated.
Through Cantu also it is known how Vitruvius worth many times not of the Greek sources, but from the Roman and even contemporary, because, as stated earlier, monopteros or tholos temples are recreated more often in Rome. Finally, his vision helps to understand that the treatise predetermines both temples such as the other for a number of gods, and yet, this rule is not taken into account on many occasions. Hence there monopteros temples dedicated to the Mother Venus, for example, which is responsible for the Corinthian order, as will be seen below.
Parthenon of Athens
Turning to authentic and established orders in the passage is first mentioned the Doric order; the oldest of all. 5. '' The Doric would be an order that combines the strength and gala with the soldiers ... the theory [above] mentioned the birth of Doric linked to the world of heavy infantry, but in any case, the male aspect of that speaks not stop ringing to robust Vitruvian gods, that is, Jupiter, Mars and Hercules ... '' As explained in 'Humanism and survival of the classical world,' 'the Doric order is linked to male and everything that conventionally associated to it, such as strength, courage and combativeness. However, these features are not exclusive of the gods. Vitruvius named Hercules from its trio of examples. Despite being a demigod, its bold character and his size and merits it a perfect sample to explain what kind of superior beings should be consecrated a Doric temple. The lack of profuse decoration in these temples also reminds the little ornamentation that males compared to females be placed. On the other hand, he cites both Minerva and Mars, a couple of Olympians, as they represent the bellicosity. However Vitruvius, in the selected passage, Jupiter does not name, as is done in '' Humanism and survival of the classical world, '' but Minerva. This is because in the book has been avoided mention this goddess for not extending the explanation of the Doric. It is because Minerva is a female deity who is classified as a male order itself, and apparently this may not make much sense. However, as he was born in a violent way (after being skewed the head of his father Jupiter), and also with age and adult and dressed in armor and weapons, like a warrior's, was identified quickly with the coarseness and rudeness of the Doric , typical of men. This was reinforced by the mythology itself, which placed Minerva as patron deity of the defensive war; that war made solely in order to protect, not to attack, such as the god Mars. That is an order of Doric columns and thick rather simple forms also refers to the protection and strength ideas related to this goddess, and struggle, endurance and ferocity of Hercules and Mars. That also concerned the old order has much to do Yea, he will devote to the first set deities in the Greek pantheon.
5. MASTER MASTER, José María Pascual Barea, Joaquin CHARLO BREA, Luis. Humanism and survival of the classical world: tribute to Professor Antonio Prieto. Printing Kadmos, Salamanca, 2008-2010. Pp: 2068.
5. MASTER MASTER, José María Pascual Barea, Joaquin CHARLO BREA, Luis. Humanism and survival of the classical world: tribute to Professor Antonio Prieto. Printing Kadmos, Salamanca, 2008-2010. Pp: 2068.
Temple of Athena Nike in Athens
However, it is true that Minerva was devoted both Doric temples (such as the Parthenon, which housed the Athena Parthenos) and Ionic later (for example, the temple of Athena Nike). This is because the evolution of the Greek orders led to the belief that Minerva was owed a middle order, which include more sophisticated virtues like wisdom or artistic ability, which she owned, as well as other features like virginity and jealousy; words closely associated with the goddess. In this way, it would not be considered as a warrior deity more, so very manly.
This recalls that desligamento the original idea of Vitruvius by framing the gods in either order or type of temple, which, as explained above, in the case of the tholos would be any confusion: there were circular temples dedicated to a many gods that were not strictly celestial or astral.
This recalls that desligamento the original idea of Vitruvius by framing the gods in either order or type of temple, which, as explained above, in the case of the tholos would be any confusion: there were circular temples dedicated to a many gods that were not strictly celestial or astral.
Temple of Venus Genetrix in Rome
Below it explains what deities must devote a Corinthian temple, the last Greek order invented. In his goddesses like Venus, Flora, Proserpine and Naiads fall, according to Vitruvius, which traditionally womanly traits, like beauty, delicacy, tenderness, charm and candor are linked; the latter in the case of Flora, Proserpine and Naiads, rather. It would be no warlike goddesses component, as in the case of Minerva, and even Diana, which will be explained when discussing the Ionic order. While citing the Naiads, nymphs of fresh water, surely it relates to the rest of nymphs, characterized by its beauty and fragility. The delicacy of the Corinthian columns with slender shafts, and a sumptuous capital, reminiscent of the ostentatious jewels that the women wear as well as its neatness in dress and in the comb. Vitruvius registered as inventor of the Corinthian order the architect Callimachus, who would have been inspired to create the special capital in a basket raised due to the pressure exerted by acanthus leaves that were under it, and it grew and curling because the lack of space. This basket would be full of glasses long ago, serving as an ornament to the tomb of a beautiful young woman who died from disease Corinth. It is clear from the explicit femininity of the Corinthian, which dates back to the origins of the myth. In addition, the thinness of the shaft would be equated to a young body that would, in theory, thin and refined.
Temple of Apollo in Didima
Finally, the Ionic is the last thing needed to develop more closely. Vitruvius as it is an interim order. In it male gods that are linked to the artistic and cultural field to the warrior, such as Apollo (not shown in fragment) fall, whose elegance and beauty, yet manly, create the need for a pigeonhole Central Ionic order as is. In the case of its counterpart, Bacchus, something similar happens despite its strong sexual connotations, usually linked to man. This deity dominates a musical instrument, the aulos, despite not having the refinement of the lyre of Apollo, the truth is that ascends to God on a scale based on the purely cultural. It could not be, in the case of Mars, who is not able to master any art considered beautiful, they would identify with the Ionian. But precisely because of his skill in weaving, Minerva, in Classical Greece, the link will start with the Ionian. On the other hand, the pair of Ionic scrolls that give a more decorative air to the Doric capital, without being too ostentatious as the Corinthian, can serve to demonstrate femininity, yet the harshness of the goddess Diana. Diana is the deity associated with hunting and the moon, the transformations, the need to feed and survive in the environment. However it is a beautiful goddess, virgin, but which refuses to men. It also means your both loving and social independence, and life in nature, accompanied by wild animals such as deer, which are his attribute. Juno, finally, is also considered an intermediate deity. It is the powerful queen of Olympus, jealous and vindictive, unfaithful wife of Jupiter, which increases some of the negative traits. However it is also goddess of marriage and subsequent motherhood, protector of pregnancies, and this endulcifica his personality. The fact that Jupiter had extramarital lovers and children becomes victim's husband, and endurance of this dignifies him. As demonstrated by this ambivalence is the located in the Ionian. However, it is curious that so features such as jealousy and envy, are also typical of Venus. What happens is that this deity could not devoted to it the Ionian for its lack of luxury, since Venus is described as too beautiful.
As a brief conclusion remember that Vitruvius, as writer on architecture, intended to establish a rule through his work to link some architectural orders to specific gods. However, its doctrine would not be fully respected. This question refers to the architect tried to pigeonhole each deity in a place that is not always honored, and will occur in all cases that some gods are mixed with some orders which, in theory, should not. Therefore, Vitruvius, in this respect, failed to normalize linking various types of temples (orders) to certain deities, although his rule sometimes it will be continued. Nevertheless, its balancing intention would especially to publicize the Greek view of stereotypical masculine and feminine forms and correspondence with the architectural forms. This even transcend the Greek era, and as such is the Portico of Octavia, held in honor of this woman, sister of Emperor Augustus. The porch is of Corinthian order, and this order shows that used to be a woman Octavia, and not necessarily a goddess. But above all, the work of Vitruvius shows how evolving tastes and preferences in architecture, still abundant in the time of his Corinthian Rome for most cases, and after the treaty new orders: the compound and the Tuscan.
As a brief conclusion remember that Vitruvius, as writer on architecture, intended to establish a rule through his work to link some architectural orders to specific gods. However, its doctrine would not be fully respected. This question refers to the architect tried to pigeonhole each deity in a place that is not always honored, and will occur in all cases that some gods are mixed with some orders which, in theory, should not. Therefore, Vitruvius, in this respect, failed to normalize linking various types of temples (orders) to certain deities, although his rule sometimes it will be continued. Nevertheless, its balancing intention would especially to publicize the Greek view of stereotypical masculine and feminine forms and correspondence with the architectural forms. This even transcend the Greek era, and as such is the Portico of Octavia, held in honor of this woman, sister of Emperor Augustus. The porch is of Corinthian order, and this order shows that used to be a woman Octavia, and not necessarily a goddess. But above all, the work of Vitruvius shows how evolving tastes and preferences in architecture, still abundant in the time of his Corinthian Rome for most cases, and after the treaty new orders: the compound and the Tuscan.
Temple of Diana in Mérida
Thus, as an example, the temples of Diana become Ionic Corinthian and not, like Mérida, of Augustan age. Actually, the use of Ionic and Doric gradually disappears in Rome, although the Vitruvius considers essential to its time as well. Thus, they will be linked to Classical Greece and its meaning and relevant sacred consecrations. But they did not transcend the Roman Empire, where reign the Corinthian and Tuscan compound, looking for a stylistic modernization not necessarily imitate the Greek greatness, but it is exceeded.
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