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Drawing of a baluster column in the article "Anglo-Saxon Architecture" in the Archaeological Journal, Volume 1 (1845) The baluster, being a turned structure, tends to follow design precedents that were set in woodworking and ceramic practices, where the turner's lathe and the potter's wheel are ancient tools. The profile a baluster takes is ...
The Emmet Building's ornamentation was notable because Barney & Colt tested the limits of terracotta and the skills of the sculptors by calling for "larger-than standard pieces", [5] The crown of the building consists of five-stories "liberally encrusted with Renaissance motifs including baluster columns, elaborate cornices, foliate friezes ...
The Ionic column is always more slender than the Doric; therefore, it always has a base: [5] Ionic columns are eight and nine column-diameters tall, and even more in the Antebellum colonnades of late American Greek Revival plantation houses. [citation needed] Ionic columns are most often fluted. After a little early experimentation, the number ...
The firm came to define architectural practice, urbanism, and the ideals of the American Renaissance in fin de siècle New York. The firm's founding partners, Charles Follen McKim (1847–1909), William Rutherford Mead (1846–1928), and Stanford White (1853–1906), were giants in the architecture of their time, and remain important as ...
The revival of classical architectural elements, including Classical order columns, was central to Renaissance architecture, built between the 15th and 17th centuries in Europe. But columns were used sparingly in the Early Renaissance, except for courtyard arcades, and fluting is slow to appear.
In ecclesial architecture, it is also used of the area between the baluster of a Catholic church and the high altar (what is usually called the sanctuary or chancel). Peristyle A continuous porch of columns surrounding a courtyard or garden (see also Peristasis). In ecclesial architecture, the term cloister is used. Phiale
The columns and windows show a progression towards the centre. One of the first true Renaissance façades was Pienza Cathedral (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as Rossellino) with Leone Battista Alberti perhaps having some responsibility in its design as well.
Greco-Roman architectural motifs are also heavily used: flutings, pilasters (fluted and unfluted), fluted balusters (twisted and straight), columns (engaged and unengaged, sometimes replaced by caryathids), volute corbels, triglyphs with guttae (in relief and trompe-l'œil). [72]
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