Lo studio e concentrato sui capitelli corinzi dei templi a Roma, ma vengono anche considerate le testimonianze greche, ellenistiche ed italiche per quanto concerne il composito ed altre forme corinzieggianti. La spiegazione di Vitruvio non e sufficiente per capire come veniva progettato il capitello corinzio. Il capitello puo essere meglio capito studiando proporzioni diverse da quelle menzionate da Vitruvio. Il disegno spesso rispetta una regola che vuole l'altezza del capitello uguale alla larghezza o minima distanza tra le facce opposte dell'abaco. Inoltre, la larghezza in diagonale dell'abaco corrisponde spesso a due volte il diametro inferiore del fusto della colonna. Inoltre ancora, molte dimensioni importanti di un'ordine corinzio normale corrispondono all'uno o all'altro di questi calcoli. Lo schema che emerge mette in contrasto la semplicita e cosistenza di certe regole a confronto di una grande numero di variazioni nei particolari. Cio dipende dalla costrizione delle forme architettoniche ma anche dei mezzi di produzione. Dallo studio dei capitelli abbozzati e emerso che i calcoli piu usati erano quelli piu importanti per la lavorazione. Nel periodo imperiale, soprattutto, ci fu un sistema per il proporzionamento combinato con tendenze verso la standardizzazione al fine di incrementare la produzione su larga scala. L'intreccio tra le regole e le variazioni rivela un ingegnioso, ed allo stesso tempo pragmatico approccio alla questione del disegno e dell'ornato.

Designing the Roman Corinthian capital

This book addresses the treatment and perception of historic buildings in imperial Rome, examining the ways in which public monuments were restored in order to develop an understanding of the Roman concept of built heritage. The study considers examples from the first century BC to second century AD, focusing primarily on the six decades between the Great Fire of AD 64 and the AD 120s, a period of dramatic urban transformation and architectural innovation in Rome. Through analysing how the design, materiality, and appearance of buildings, including the temple of Jupiter Capitolinus and hut of Romulus, developed with successive restorations, the case is made for the existence of a consistent approach to the treatment of historic buildings in this period. With the purpose of uncovering attitudes to built heritage in Roman society more widely, the book also explores how changes to particular monuments and the urban fabric as a whole was received by the people who experienced it first-hand. By examining descriptions of destruction and restoration in literature of the first and second centuries AD, including the works of Seneca the Younger, Pliny the Elder, Martial, Tacitus, and Plutarch, a picture is formed of the conflicting ways in which Rome’s inhabitants responded to the redevelopment of their city. The results provide an alternative way of explaining key interventions in Rome’s built environment and challenge ideas that heritage is a purely modern phenomenon.

Architectural Restoration and Heritage in Imperial Rome

This study aims to discuss a heritage building from the first quarter of the Twentieth Century, where the residential buildings are one of the fundamentals of urban cities’ construction and their proliferation is important for the continuity of city construction. Residential buildings are one of the remarkable features of stability and city center to the extent that they have become a criterion for reflecting the stages of the growth of the city. There is a commonly known proverb that states that the man who has a child, plants a tree and builds a house leaves a legacy for the next generations. By the end of the 19th and the beginning of the 20thcenturies, architecture has witnessed a breakthrough in terms of the styles of establishing houses in Egypt. This was a consequence of Muhammad Ali's dynasty's influence by European architecture styles and its artistic standards. 'Alawiyya dynasty adapted new building styles which were distinct from those prevailing in Egypt in previous eras. Muhammad Ali's dynasty's persistent desire- to turn Egypt into a piece of Europe especially Cairo and Alexandria- has given its establishments a special and distinct style. The European influences - which were symbols of progress, urbanization and civilization - were not limited to Cairo as the capital of Egypt but they were transferred to other Egyptian cities, through the rise of trade traffic let alone the development of transportation which contributed to their spread then. In addition, the foreign architects and engineers circulated their foreign architectural concepts and ideas in the north and south of Egypt as well as in capital cities. Taking Al-Fashn city as an example, we could say that it has included a lot of residential buildings that were established in the first half of the 20th century A.D. One of the buildings that would be discussed in this study is Abd Al-Azim Abu El-Nil's house which representedthe domestic style of the residential buildings in provinces, where it has preserved the domestic architectural traditions and is influenced by the European methods and styles in terms of the architectural and ornamental elements. The study will adopt the descriptive approach and analytical methodology for presenting this significant residential building through architectural along with artistic study and publishing for the first time.

https://ijmshr.journals.ekb.eg/article_192826_fa3c4c1d771f647787a534d614af061c.pdf

Archaeological Study of Heritage Building from the First Quarter of the Twentieth Century in Egypt

Once the visitor to the Petra Geat Temple mounts the Propylaea steps from the Colonnaded Street, he is removed from the hustle and bustle of the secular world and enters a precinct where he might s...

The Petra Great Temple: A Nabataean Architectural Miracle

Ligorio, Palladio, and the Decorated Roman Capital from Le Mura di Santo Stefano

The Composite capital was described by D. S. Robertson in his Handbook of Greek and Roman Architecture (2nd ed., 1945) as ‘essentially a mixture of four-sided Ionic and Corinthian, in varying proportions. The invention is probably Augustan, but the earliest strictly datable examples are perhaps to be found at Rome in the Colosseum, dedicated in A.D. 80, and in the slightly later Arch of Titus: both these have a double row of acanthus leaves which gives them a more Corinthian look’.Since the Handbook was written, very little has been added to the history of the Composite capital. Robertson's explanation of the origin of the type, which seems to have been pointed out first by Patroni, is still the accepted one.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0075435800026332

Some Early Examples of the Composite Capital

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Some Early Examples of the Composite Capital