#doric Tumblr posts

  • Agora of Priene & Sacred Stoa

    Priene, Ionia, Turkey

    3rd century BCE

    Agora of Priene  was an open place for people to meet, celebrate special days and festivals and commerce like any other Hellenistic city Agoras. So it had an important place in the daily life of ancient cities.

    The Priene Agora was defined by Pausanias as being “a characteristic example of Ionic agoras.” It was built in the 3rd century BCE and has a horseshoe shape. One side is open and is surrounded, and the other side had a stoa. Both the east and west sides had 18 columns and on the south side 30 columns were constructed in the Doric style. There is a row of rooms (shops) at the rear parts of the south and west side of the stoa. The shops at the rear part of the east stoa remain in the temenos of the Asclepius Temple. From the middle part of the south side, some of the rooms were removed and this area was turned into a large hall.

    The Sacred Stoa, the northernmost, was built by Ariarathes, the King of Cappadocia in the middle of the 2nd century BCE. It was 12 meters wide and 116 meters long. A 6-stepped stairway in the front opening onto the street leads to a wide gallery open to the sky. This gallery is 6.47 meters wide and had a marble-paved floor. There were benches on the east and the west side of the gallery of which one was exedra (a room in a public building furnished with seats) and the other in a horseshoe shape. The certain names from among the people of Priene were mentioned as inscriptions on the back of the seats. 

    The building is separated into two parts by columns. The wooden roof was supported by 49 Doric columns in the front row and 24 Ionic ones in the second row. There are fifteen rooms at the rear part; three of these are excellent stone workmanship of exedra design. R-The ninth room from the west was consecrated to the cult of Roman gods and Emperor Augustus which is understood from the inscriptions and drawings on the wall of this room. It is also understood that the Julian (Roman) calendar was begun to be used in western Anatolia in the year 9 BCE. It is believed that these rooms were used for the conversations of the State and the Athena Temple archives.

    The statues in Agora in marble and bronze and created a very impressive atmosphere that represented the notabilities of the city. In ancient times there was an art gallery, but today only the bases of the statues remain and use the visitors for sitting.

    The altar in the middle of the Agora was 6.20 meters long and 5.15 meters wide and dedicated to the god Hermes. The small agora is on the left of the agora which is a market place. It contains various foods, clothing, and other articles. During the excavations counters were revealed which was used for displaying the items on sale.

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  • Lower Gymnasium

    Priene, Ionia, Turkey

    130 BCE

    The lower gymnasium was built in the year 130 BCE together with the stadium. This well-preserved building constituting a complex with the stadium. The square central palaestra is surrounded by colonnades; double colonnade in the north, leading to a row of at least five rooms; in the west, an additional row of four rooms and the monumental entrance to the complex. The colonnade in the north was two-storied.

    The largest room of the building was the schoolroom or Ephebeum. It was situated in the middle of the north side. It had two Ionic columns at the entrance to the north; within the Ephebeum, engaged Corinthian half-columns decorated the upper portion of the rear wall. It had 4 Ionic columns, and inside were rows of seats along the walls. The other rooms were reserved for practicing in various branches of sports. 

    The lower gymnasium combines the characteristics of a simple, square palaestra surrounded by Doric colonnades, with characteristics reminiscent of agora architecture, here represented by the double colonnade in the north leading to the Ionic facade of the Ephebeum.

    The lower gymnasium forms part of a complex together with the adjacent stadium, although there are differences in their level and orientation. In some respects, the gymnasium at Priene accords with Vitruvius’ description of a typical Greek palaestra, surrounded by colonnades to provide shelter from inclement weather, and with rooms for instruction, washing and philosophical discussion behind the colonnades

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  • I have family from Aberdeen, where the local dialect is called Doric. The traditional greeting in Doric is “Hoo’s yer doos?” (how are your doves) to which the positive reponse is “awa’ peckin!” (always pecking). I thought you ought to know. 

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  • Heroon of Androclus


    150-100 BC

    10.35 m high

    The building is U-shaped in its ground plan, as a recess appears in the middle of its front side. Its total length was 10.35 m. and had a depth of 5.8 m. The monument stood on a three-stepped crepidoma, which along the façade appeared as a unified base, as it did not have steps. The last step of the crepidoma, which served as the stylobate, was formed as a bench, while its corners were decorated with lion’s paws.

    Above the substructure, a tall solid core of Doric architecture formed the monument’s socle. It was made of re-used bolstered ashlar. The outer sides of the socle were revetted with marble orthostates 1.04 m. crowned with molding (30.5 cm high) and followed by courses 90 and 30 cm high. The recessed middle section of the front side did not bear marble revetment, but was made of carefully cut orthogonal masonry.

    The corners of the socle were strengthened by pilasters (antae). Four pilasters existed on the front side, two of which flanked the middle recess, while Doric half-columns divided the sides of the socle into two sections 2.45 m. long. The piers stood on bases (36 cm. high) and the capitals (37.5 cm. high) were decorated with floral rosettes. The total height of the pilasters and columns is calculated at 4.1 m. high. A Doric entablature (1.27 m. high) ran around the first level of the elevation. The metopes of the frieze were decorated with palmettes, rosettes and phiales.

    Above the Doric socle was the second level of the elevation, which was also U-shaped following the architectural plan of the underlying floor. The upper storey was composed by an open arrangement of Ionic columns developed also above the façade’s projections, while the back side was closed off by a wall, strengthened at the corners by pillars. The capitals were decorated with rosettes, while a parapet joined the central columns of the side colonnade with the corner pillars of the back side. The columns stood on Attic bases. Emphasis was given to the architectural design of the recessed middle part, which was accentuated by a combination of columns and pillars bearing an arch. The Ionic entablature was formed by an architrave, a frieze and a dental cornice. The three-fasciae architrave (epistyle) contained a crowning with an ovolo and cavetto. The frieze bore relief representations which depicted heads of bulls (bucrania) and fruit garlands. The sima was decorated with lion heads, which also served as rain water drains.

    Half-pediments crowned the side wingsof the U-shaped structure. The sculptural decoration of the pediments continued as a relief frieze in the recessed middle part, which was crowned by a triangular pediment. The tympanum of the central pediment was embellished with a shield, while in the corners were pedestals on which the acroteria were placed. Inset decorative elements possibly decorated the cornice. Wooden beams supported the monument’s marble roof. The coffers were divided into central rhombi and into four corner triangles and were undecorated. The height of the upper storey is calculated at 6,5 m., while the total height of the monument was over 13 m.

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  • The Ruins of a Doric Temple. Hubert Robert (1733-1808).

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  • Sanctuary of Athena Pronaia, Delphi, Greece

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  • The classical Doric building is the most perfect, static orchestration of space…no line, no decoration which detracts from the form of the temple itself. Everything is pure, clear, comprehensible, yet with a function which is the fruit of experience.

    from Der Mythus des zwangzigsten Jahrhunderts.

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  • The Dorians work in stone, it remains unpainted. Their figures are naked. Doric, that is skin, but skin moving over muscles, masculine flesh, the body. The body, tanned by the sun, oil, dust, the strigil and cold baths, used to fresh air, mature, beautifully toned. Every muscle, the knee-cap, the positioning of joints, dealt with, assimilated, integrated, the whole warlike, yet very choice.

    Gottfried Benn from Doric world, an investigation into the relationship of art & power, 1934.

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  • Behind this silhouette of Greece, a pan-Hellenic mixture, stands the grey column without a base, the temple of hewn stone, stands the camp of men on the right bank of the Eurotas, it’s dark choirs -: the Doric world. Dorian’s love mountains, Apollo is their national god, Heracles their first king, Delphi the sacred place, they reject swaddling and bathe their children in wine.

    Gottfried Benn from Dorische Welt: Eine Untersuchung über die Beziehung von Kunst und Macht, 1934.
    [image: Apollo from a bronze original Greek sculpture attributed to Kalamis or Phidias
    About 470 – 460 BC in Pentelic marble
    2nd Cent. AD. Paris, Musée du Louvre]

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  • by Mary Munro


    Hotterin an oozin fae the Wells o’ Dee,
    The river winds lang on her wey tae the Sea.
    Ower Braeriach’s grim cliff, she loups tae the Glen,
    Neath craggy, auld faces o’ harsh mountain bens.

    Bubblin an chatterin in grey-granite rills,
    Swalled wi the peat-burns fae shelterin hills.
    Doon at the Linn, roarin thro’ the scoored gorge,
    Then spreadin her fingers afore bonny Mar Lodge.

    She hoves doon the Valley fae Braemar tae the Sea,
    Past auld Scots pines an bonny, green lea.
    Thro’ low-hingin laricks an fir-scented tang,
    She gaithers her bairns, growin wider an strang.

    The hert o’ the Valley, aye lo’ed by her ain,
    The Dee cuts the land, like a life-bringin vein.
    Fyles, roarin in spate or flowin sae calm,
    The soon o’ her waaters aye like a balm.

    The fowk o’ the Glen are bit here for a fyle,
    Bit eternal, auld Dee flows on mile upon mile,
    Teemin her bounty intae the muckle saat Sea,
    Like a Mither, aye faithful, this bonny-bit Dee.

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  • #pangramma#doric #fonderia: stephenson blake #designer: walter tracy #1870
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    As we were talking about Doric the other day this is a birthday card I got recently

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  • Tomb of Massinissa

     El Khroub, Algeria

    2nd century BCE

    Mausoleum of Massinissa, Amazigh king and the first king of unified Numidia. His name was found in his tomb in Cirta, the current Constantine. He was born about 238 BCE in the tribe of the Massyles (Mis Iles) and dies early January 148 BCE

    It is built on a square base of 10.50m by 2.80m high, which ends with three steps, on which rests a second level, 8.40m side and 1m high, consisting of two seats of which the second is molded. On top of it were four massifs of 1.75 m on each side, occupying the corners of a square of 5.55 m on one side and decorated, on each of their two exterior facades, with a large round shield of 1.25 m in diameter, in relief. Closing a square chamber, with four openings, or false doors, like the temple of Theron in Agrigento, they framed four large panels, depicting doors, of which there remains debris, probably the space too limited was than a vacuum of discharge.

    Unfortunately, the upper level has not withstood the ravages of time, Many have assumed an earthquake, because a large amount of these materials is still scattered near the site, including barrels not fluted, debris of architraves, friezes, and pieces of creeping cornices which belonged to pediments.

    Several hypotheses as to what this monument is have been put forward. It is known as of the tomb of Punic military leader Massinissa, but forothers the most likely hypothesis is the one that this is the tomb of Micipsa-  son and successor of Massinissa.

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  • Sanctuary of Athena Pronaia, Delphi, Greece

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