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Ancient Greek architecture is distinguished by its highly formalised characteristics, both of structure and decoration. This is particularly so in the case of temples where each building appears to have been conceived as a sculptural entity within the landscape, most often raised on high ground so that the elegance of its proportions and the ...
Mosaics made of stone or glass tesserae were also elements of interior architecture. Precious wood furniture, like beds, chairs, stools, tables, bookshelves and silver or golden cups with beautiful reliefs, decorated Byzantine interiors. [2] Early Byzantine architecture drew upon earlier elements of Roman and Greek architecture.
The foundations of Greek temples could reach dimensions of up to 115 by 55 m, i.e. the size of an average football pitch. Columns could reach a height of 20 m. To design such large architectural bodies harmoniously, a number of basic aesthetic principles were developed and tested already on the smaller temples.
The interior of the dome or tower may be one of the major architectural features of the interior of the church. In a centrally planned church such as Hagia Sophia, and typical of many Orthodox churches, the major interior space of the building is roofed by the dome.
Ancient Greek furniture was typically constructed out of wood, though it might also be made of stone or metal, such as bronze, iron, gold, and silver. Little wood survives from ancient Greece, though varieties mentioned in texts concerning Greece and Rome include maple , oak , beech , yew , and willow . [ 56 ]
These two interior layouts tend to be square/circular in form rather than elongated. The cruciform is the oldest of the two interior layouts and seems to be of Byzantine origin. It comes from the adaptation of two of the earliest Christian architectural forms, the basilica and the octagonal/circular form.
Leo von Klenze's Walhalla in Regensburg, Bavaria (1842). In Germany, Greek Revival architecture is predominantly found in two centres, Berlin and Munich.In both locales, Doric was the court style rather than a popular movement and was heavily patronised by Frederick William II of Prussia and Ludwig I of Bavaria as the expression of their desires for their respective seats to become the capital ...
In their original Greek version, Doric columns stood directly on the flat pavement (the stylobate) of a temple without a base. With a height only four to eight times their diameter, the columns were the most squat of all the classical orders; their vertical shafts were fluted with 20 parallel concave grooves, each rising to a sharp edge called an arris.