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{from below...perspectives: below/above #twotakes}
When I shoot something from below, it allows my body (and mind) a chance to expand. To view something straight on is to take it at face value, but to view it from below, encourages an alternative perspective. When I look upward, I breathe deeper and release my breath at a much slower rate. It becomes a meditation of sorts. I find myself slowing down and allowing in a sense of hope, elation, peacefulness and serenity, with myself...my problems...my world.
The Qutb complex (Hindi: क़ुतुब, Urdu: قطب), also spelled Qutab or Qutub, is an array of monuments and buildings at Mehrauli in Delhi, India. The best-known structure in the complex is the Qutb Minar, built to honor the Sufi saint Qutbuddin Bakhtiar Kaki. Its foundation was laid by Qutb-ud-din Aibak, who later became the first Sultan of Delhi of the Mamluk dynasty. After the death of the viceroy, the Minar was added upon by his successor Iltutmish (a.k.a. Altamash) and much later by Firoz Shah Tughlaq, a Tughlaq dynasty Sultan of Delhi in 1368 AD. the construction of the Qubbat-ul-Islam Mosque or Dome of Islam [later corrupted into Quwwat-ul Islam] next to the Qutb Minar, in the Qutb complex, built on the ruins of Lal Kot Fort built by Tomar Rajput ruler, Anangpal in 739 CE and Qila-Rai-Pithora, Prithviraj Chauhan's city, the Rajput king, whom Ghori's Afghan armies had earlier defeated and killed, at the Second Battle of Tarain.
The complex was added to by many subsequent rulers, including Firoz Shah Tughlaq and Ala ud din Khilji as well as the British. Other structures in the complex are the Qutb Minar, the Quwwat ul-Islam Mosque, the Alai Gate, the Alai Minar, the Iron pillar, and the tombs of Iltutmish, Alauddin Khilji and Imam Zamin, surrounded by Jain temple ruins.
Today, the adjoining area spread over with a host of old monuments, including Balban's tomb, has been developed by Archaeological Survey of India (ASI) as the Mehrauli Archaeological Park, and INTACH has restored some 40 monuments in the Park. It is also the venue of the annual 'Qutub Festival', held in November–December, where artists, musicians and dancers perform over three days. The Qutb Minar complex, with 3.9 million visitors, was India's most visited monument in 2006, ahead of the Taj Mahal, which drew about 2.5 million visitors.
ALAI DARWAZA
The Alai Darwaza is the main gateway from southern side of the Quwwat-ul-Islam Mosque. It was built by the second Khilji Sultan of Delhi, Ala-ud-din Khilji in 1311 AD, who also added a court to the pillared to the eastern side. The domed gateway is decorated with red sandstone and inlaid white marble decorations, inscriptions in Naskh script, latticed stone screens and showcases the remarkable craftsmanship of the Turkish artisans who worked on it. This is the first building in India to employ Islamic architecture principles in its construction and ornamentation.
The Slave dynasty did not employ true Islamic architecture styles and used false domes and false arches. This makes the Alai Darwaza, the earliest example of first true arches and true domes in India. It is considered to be one of the most important buildings built in the Delhi sultanate period. With its pointed arches and spearhead of fringes, identified as lotus buds, it adds grace to the Quwwat-ul-Islam mosque to which it served as an entrance.
QUTB MINAR
The Qutb Minar is the tallest brick minaret in the world, inspired by the Minaret of Jam in Afghanistan, it is an important example of early Afghan architecture, which later evolved into Indo-Islamic Architecture. The Qutb Minar is 72.5 metres high, has five distinct storeys, each marked by a projecting balcony carried on muqarnas corbel and tapers from a diameter 14.3 metres at the base to 2.7 metres at the top, which is 379 steps away. It is listed as a UNESCO World Heritage Site along with surrounding buildings and monuments.
Built as a Victory Tower, to celebrate the victory of Mohammed Ghori over the Rajput king, Prithviraj Chauhan, in 1192 AD, by his then viceroy, Qutbuddin Aibak, later the first Sultan of Mamluk dynasty. Its construction also marked the beginning of Muslim rule in India. Even today the Qutb remains one of the most important "Towers of Victory" in the Islamic world. Aibak however, could only build the first storey, for this reason the lower storey is replete with eulogies to Mohammed Ghori. The next three floors were added by his son-in-law and successor, Iltutmish. The minar was first struck by lightning in 1368 AD, which knocked off its top storey, after that it was replaced by the existing two floors by Firoz Shah Tughlaq, a later Sultan of Delhi 1351 to 1388, and faced with white marble and sandstone enhancing the distinctive variegated look of the minar, as seen in lower three storeys. Thus the structure displays a marked variation in architectural styles from Aibak to that of Tughlaq dynasty. The inside has intricate carvings of the verses from the Quran.
The minar made with numerous superimposed flanged and cylindrical shafts in the interior, and fluted columns on the exterior, which have a 40 cm thick veneer of red and buff coloured sandstone; all surrounded by bands of intricate carving in Kufic style of Islamic calligraphy, giving the minar the appearance of bundled reeds. It stands just outside the Quwwatul mosque, and an Arabic inscription suggests that it might have been built to serve as a place for the muezzin, to call the faithfuls for namaz. Also marking a progression in era, is the appearance of inscriptions in a bold and cursive Thuluth script of calligraphy on the Qutb Minar, distinguished by strokes that thicken on the top, as compared to Kufic in earlier part of the construction.
Inscriptions also indicate further repairs by Sultan Sikander Lodi in 1503, when it was struck by lightning once again. In 1802, the cupola on the top was thrown down and the whole pillar was damaged by an earthquake. It was repaired by Major R. Smith of the Royal Engineers who restored the Qutub Minar in 1823 replacing the cupola with a Bengali-style chhatri which was later removed by Governor General, Lord Hardinge in 1848, as it looked out of place, and now stands in the outer lawns of the complex, popularly known as Smith's Folly.
After an accident involving school children, entry to the Qutub Minar is closed to public since 1981, while Qutub archaeological area remains open for public. In 2004, Seismic monitors were installed on the minar, which revealed in 2005 Delhi earthquake, no damage or substantial record of shakes. The reason for this has been cited as the use of lime mortar and rubble masonry which absorbs the tremors; it is also built on rocky soil, which further protects it during earthquakes.
QUWWAT-UL-ISLAM MOSQUE
Quwwat-ul-Islam mosque(Arabic: قوة الإسلام ) (might of Islam) (also known as the Qutub Mosque or the Great Mosque of Delhi) was built by Qutb-ud-din Aibak, founder of the Mamluk or Slave dynasty. It was the first mosque built in Delhi after the Islamic conquest of India and the oldest surviving example of Ghurids architecture in Indian subcontinent. The construction of this Jami Masjid (Friday Mosque), started in the year 1193 AD, when Aibak was the commander of Muhammad Ghori's garrison that occupied Delhi. The Qutub Minar was built simultaneously with the mosque but appears to be a stand-alone structure, built as the 'Minar of Jami Masjid', for the muezzin to perform adhan, call for prayer, and also as a qutub, an Axis or Pole of Islam. It is reminiscent in style and design of the Adhai-din-ka Jhonpra or Ajmer mosque at Ajmer, Rajasthan, also built by Aibak during the same time, also constructed by demolishing earlier temples and a Sanskrit school, at the site.
According to a Persian inscription still on the inner eastern gateway, the mosque was built by the parts taken by destruction of twenty-seven Hindu and Jain temples built previously during Tomars and Prithvi Raj Chauhan, and leaving certain parts of the temple outside the mosque proper. Historical records compiled by Muslim historian Maulana Hakim Saiyid Abdul Hai attest to the iconoclasm of Qutb-ud-din Aibak. This pattern of iconoclasm was common during his reign, although an argument goes that such iconoclasm was motivated more by politics than by religion.
However, many historians were unanimous regarding the fact that Qutb ud-Din Aibaq like many other Muslim rulers, had a pathological bigotry and distaste towards henotheistic values, and intolerance on cultures considered anathema in Islamic dogma, which had impelled him to vandalise those historic monuments.
The mosque is built on a raised and paved courtyard, measuring 43x32 m, surrounded by pillared cloisters added by Iltutmish between 1210 and 1220 AD. The stone screen between prayer hall and the courtyard, stood 16 m at its highest was added in 1196 AD, the corbelled arches had Arabic inscriptions and motifs. Entrances to the courtyard, also uses ornate mandap dome from temples, whose pillars are used extensively throughout the edifice, and in the sanctuary beyond the tall arched screens. What survives today of the sanctuary on the western side are the arched screens in between, which once led to a series of aisles with low-domed ceilings for worshippers. Expansion of the mosque continued after the death of Qutb. Qutbuddin's successor Iltutmish, extended the original prayer hall screen by three more arches. By the time of Iltutmish, the Mamluk empire had stabilised enough that the Sultan could replace most of his conscripted Hindu masons with Muslims. This explains why the arches added under Iltutmish are stylistically more Islamic than the ones erected under Qutb's rule, also because the material used wasn't from demolished temples. Some additions to the mosque were also done by Alauddin Khilji, including the Alai Darwaza, the formal entrance to the mosque in red sandstone and white marble, and a court to the east of the mosque in 1300 AD.
The mosque is in ruins today but indigenous corbelled arches, floral motifs, and geometric patterns can be seen among the Islamic architectural structures. To the west of the Quwwat ul-Islam mosque is the tomb of Iltutmish which was built by the monarch in 1235.
IRON PILLAR
The iron pillar is one of the world’s foremost metallurgical curiosities. The pillar, 7.21-metre high and weighing more than six tonnes, was originally erected by Chandragupta II Vikramaditya (375–414 AD) in front of a Vishnu Temple complex at Udayagiri around 402 AD, and later shifted by Anangpal in 10th century CE from Udaygiri to its present location. Anangpal built a Vishnu Temple here and wanted this pillar to be a part of that temple.
The estimated weight of the decorative bell of the pillar is 646 kg while the main body weighs 5865 kg, thus making the entire pillar weigh 6511 kg. The pillar bears an inscription in Sanskrit in Brahmi script dating 4th century AD, which indicates that the pillar was set up as a Vishnudhvaja, standard of god, on the hill known as Vishnupada in memory of a mighty king named Chandra, believed to Chandragupta II. A deep socket on the top of this ornate capital suggests that probably an image of Garuda was fixed into it, as common in such flagpoles.
TOMS
IOMB OF ILTUTMISH
The tomb of the Delhi Sultanate ruler, Iltutmish, the second Sultan of Delhi (r. 1211–1236 AD), built 1235 CE, is also part of the Qutb Minar Complex in Mehrauli, New Delhi. The central chamber is a 9 mt. sq. and has squinches, suggesting the existence of a dome, which has since collapsed. The main cenotaph, in white marble, is placed on a raised platform in the centre of the chamber. The facade is known for its ornate carving, both at the entrance and the interior walls. The interior west wall has a prayer niche (mihrab) decorated with marble, and a rich amalgamation of Hindu motives into Islamic architecture, such as bell-and-chain, tassel, lotus, diamond emblems.
In 1914, during excavations by Archaeological Survey of India's (ASI) Gordon Sanderson, the grave chamber was discovered. From the north of the tomb 20 steps lead down to the actual burial vault.
ALA-UD-DIN KHILJI´S TOMB AND MADRASA
At the back of the complex, southwest of the mosque, stands an L-shaped construction, consisting of Alauddin Khilji's tomb dating ca 1316 AD, and a madrasa, an Islamic seminary built by him. Khilji was the second Sultan of Delhi from Khilji dynasty, who ruled from 1296 to 1316 AD.
The central room of the building, which has his tomb, has now lost its dome, though many rooms of the seminary or college are intact, and since been restored. There were two small chambers connected to the tomb by passages on either side. Fergusson in his book suggested the existence, to the west of the tomb, of seven rooms, two of which had domes and windows. The remains of the tomb building suggest that there was an open courtyard on the south and west sides of the tomb building, and that one room in the north served as an entrance.
It was the first example in India, of a tomb standing alongside a madarsa. Nearby stands the Alai Minar, an ambitious tower, he started constructing to rival the Qutub Minar, though he died when only its first storey was built and its construction abandoned thereafter. It now stands, north of the mosque.
The tomb is in a very dilapidated condition. It is believed that Ala-ud-din's body was brought to the complex from Siri and buried in front of the mosque, which formed part of the madrasa adjoining the tomb. Firoz Shah Tughluq, who undertook repairs of the tomb complex, mentioned a mosque within the madrasa.
ALAI MINAR
Alauddin Khilji started building the Alai Minar, after he had doubled the size of Quwwat ul-Islam mosque. He conceived this tower to be two times higher than Qutb Minar in proportion with the enlarged mosque. The construction was however abandoned, just after the completion of the 24.5-metre-high first-story core; soon after death of Ala-ud-din in 1316, and never taken up by his successors of Khilji dynasty. The first story of the Alai Minar, a giant rubble masonry core, still stands today, which was evidently intended to be covered with dressed stone later on. Noted Sufi poet and saint of his times, Amir Khusro in his work, Tarikh-i-Alai, mentions Ala-ud-din's intentions to extend the mosque and also constructing another minar.
OTHER MONUMENTS
A short distance west of the enclosure, in Mehrauli village, is the Tomb of Adham Khan who, according to legend drove the beautiful Hindu singer Roopmati to suicide following the capture of Mandu in Madhya Pradesh. When Akbar became displeased with him he ended up being heaved off a terrace in the Agra Fort. Several archaeological monuments dot the Mehrauli Archaeological Park, including the Balban's tomb, Jamali Kamali mosque and tomb.
There are some summer palaces in the area: the Zafar Mahal, the Jahaz Mahal next to Hauz-i-Shamsi lake, and the tombs of the later Mughal kings of Delhi, inside a royal enclosure near the dargah shrine of Sufi saint, Qutbuddin Bakhtiar Kaki. Here an empty space between two of the tombs, sargah, was intended for the last king of Delhi, who died in exile in Rangoon, Burma, in 1862, following his implication in the Indian Rebellion of 1857. Also standing nearby is the Moti Masjid mosque in white marble.The ruins of the alai minar are currently in the qutb complex.
WIKIPEDIA
Impressive frontage of the Brisbane Customs House, which was built on the Brisbane River for the Port of Brisbane in 1886 in the Victorian Free Classical style. It was designed by Charles McLay of the Colonial Architect's Office. It is an imposing structure with a copper sheathed dome, now no longer a customs house but leased to the University of Queensland as a function venue.
Barcelona, Spain
Photography by JKARIL / Spain / Barcelona 2012 / Copyright 2012
The Basilica of Santa Maria del Pi is one of the major parish churches of Barcelona, a beautiful example of Catalan gothic in its purest architectural form
OK Rob, you triggered me and light up an old flame in me. This is how I started my passion for photography: Darkroom in my cellar, developing, fixing, toning with selenium and other strrange chemicals.
Let's see which one is more appreciated.
Have a nice day!
Limoges Cathedral, France
HDR Image, Duotoned
From the chapel of Osiris you can get in to another room dedicated to him, there is also more chapels dedicated to Horus, Isis and Osiris. On the south wall a door leading to another pillared room, with three more chapels but the reliefs in these chapels are destroyed.
Temple of Seti I, Abydos.
The Temple of Saturn (Latin: Templum Saturni or Aedes Saturnus, Italian: Tempio di Saturno) is a temple to the god Saturn in ancient Rome. The original dedication of a temple to Saturn was traditionally dated to 497 BC, but ancient writers disagreed greatly about the history of this site. The ruins of the temple stand at the foot of the Capitoline Hill in the western end of the Forum Romanum.
Gradual collapse has left nothing but the remains of the front portico standing. The partially preserved pediment displays the inscription Senatus Populusque Romanus incendio consumptum restituit, meaning "The Senate and People of Rome have restored what fire consumed". The pediment and eight surviving columns represent one of the iconic images of Rome's ancient architectural heritage.
The location of the temple is connected to the much older Altar of Saturn, which tradition associates with the god himself founding a settlement on the Capitoline Hill. Construction of the temple is thought to have begun in the later years of the Roman Kingdom under Tarquinius Superbus. Its inauguration by the Consul Titus Lartius took place in the early years of the Republic. The temple was completely reconstructed by Munatius Plancus in 42 BC.
The present ruins represent the third incarnation of the Temple of Saturn, replacing a second incarnation that had been destroyed by the fire of Carinus in 283 AD. The extant inscription on the frieze commemorates the restoration undertaken after the fire.
According to ancient sources, the statue of the god in the interior was veiled and equipped with a scythe. The image was made of wood and filled with oil. The legs were covered with bands of wool which were removed only on December 17, the day of the Saturnalia.
In Roman mythology, Saturn ruled during the Golden Age, and he continued to be associated with wealth. His temple housed the treasury (aerarium), where the Roman Republic's reserves of gold and silver were stored. The state archives and the insignia and official scale for the weighing of metals were also housed there. Later, the aerarium was moved to another building, and the archives transferred to the nearby Tabularium. The temple's podium, in concrete covered with travertine, was used for posting bills.
Text from: en.wikipedia.org/wiki/Temple_of_Saturn
Bridges present and past over the River Thames at Blackfriars, London, looking from the north bank to the south bank.
Blackfriars, including the entire road bridge on the far R, is in the City of London. The opposite bank is in the London Borough of Southwark. Upstream is to the R.
View taken from the embankment near Blackfriars Station. The disused pillars seem like a surreal row of mushrooms or a large art installation.
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DETAILS OF THE VIEW
BLACKFRIARS STATION is on the L and mainly serves the Thameslink part of the national rail network (one of the only two mainline networks that actually cross the River Thames). The station has recently undergone large scale reconstruction and improvements during 2009-2012. The platforms have been extended right along the bridge to the embankment on the opposite side of the river, and covered by a steel and glass canopy whose south-facing roof units include solar panels generating about half the station's energy usage. The main station building is out of sight behind the camera. The platforms can be accessed from both banks of the river. There is full interchange with the London Underground District and Circle Lines station on this near side of the river.
The modern structure of the rebuilt station rests on BLACKFRIARS RAILWAY BRIDGE, the original wrought iron arch bridge proper, formerly named St. Paul's Railway Bridge (St. Paul's Cathedral is close by, but out of view here). It was completed in 1886 for the London, Chatham and Dover Railway
The red iron(?) piers and Corinthian columns belonged to an an earlier Blackfriars Railway Bridge here, which was opened in 1864 for the London, Chatham and Dover Railway. It was designed by Joseph Cubitt. It eventually became too weak to support modern trains, and was demolished in 1985.
BLACKFRIARS BRIDGE, i.e. the road bridge, is on the R. It is the second bridge to occupy this site. Like the demolished railway bridge in the centre, it was designed by Josepth Cubitt. It opened in 1869. It is an arch bridge with five spans, and is a Grade II listed structure. (We probably drive over this bridge more frequently than any other bridge over the Thames, anywhere.)
The office block on the opposite bank, was built on the trackbed of the lines that once ran across the demolished bridge in the centre.
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Photo
Brian Roy Rosen
Uploaded to Flickr July 24, 2014
© Darkroom Daze Creative Commons.
If you would like to use or refer to this image, please link or attribute.
ID: DSC_0647 - Version 2
The central column and vaults in the dungeon of
Knaresborough castle.
en.wikipedia.org/wiki/Knaresborough_Castle
15 August 2014
SLR3_0625
The column in Piazza Santa Maria Maggiore in Rome was itself ancient: it had supported the vault of the so-called Basilica of Constantine in Rome, destroyed by an earthquake in the 9th century. By the 17th century only this column survived; in 1614 it was transported to Piazza Santa Maria Maggiore and crowned with a bronze statue of the Virgin and Child. Within decades it served as a model for many columns in Italy and other European countries. (From Wikipedia)
To the left are the residences of the eunuchs they imported from Africa to protect the women of the harems.. this entrance led to the actual harem rooms
Press L to view with black background!
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Sandstone Corinthian columns from the east portico of the U.S. Capitol, circa 1828, now stand in the National Arboretum in northeast Washington, DC. The columns were replaced during a renovation and expansion of the east front in the 1950s.
Peace Monument (Naval Monument or Civil War Sailors Monument)
The white marble Peace Monument was erected in 1877-1878 to commemorate the naval deaths at sea during the Civil War. The 44-foot-high monument stands in the circle to the west of the Capitol at Pennsylvania Avenue and First Street, N.W.
At the top of the monument, facing west, stand two classically robed female figures. Grief holds her covered face against the shoulder of History and weeps in mourning. History holds a stylus and a tablet that was inscribed "They died that their country might live." Below Grief and History, another life-size classical female figure represents Victory, holding high a laurel wreath and carrying an oak branch, signifying strength. Below her are the infant Mars, the god of war, and the infant Neptune, god of the sea. The shaft of the monument is decorated with wreaths, ribbons, and scallop shells.
Facing the Capitol is Peace, a classical figure draped from the waist down and holding an olive sprig. Below her are symbols of peace and industry. A dove, now missing and not documented in any known photographs, once nested upon a sheaf of wheat in a grouping of a cornucopia, turned earth, and a sickle resting across a sword. Opposite, the symbols of science, literature, and art (including an angle, a gear, a book, and a pair of dividers) signify the progress of civilization that peace makes possible.
At the corners of the monument, four marble globes are visually supported by massive brackets. The fountain below, with a jet on each side, empties into a quatrefoil-shaped basin.
Inscribed "In memory of the officers, seamen and marines of the United States Navy who fell in defense of the Union and liberty of their country, 1861-1865," this sculptural group has also been called the Naval Monument.
The sculptor of the monument was Franklin Simmons (1839-1913), who was born in Maine, where he became known for his portrait busts. He worked in Rome after 1867, when he received the commission for a statue of Roger Williams for the National Statuary Hall collection. In all, he created four statues and three busts for the United States Capitol. The Peace Monument is an example of his idealized neoclassical sculpture.
The Peace Monument, first intended for Annapolis, was conceived by Admiral David D. Porter, who had commanded fleets of gunboats and troop transports during the war. Porter first sketched a simple design depicting Grief and History; beginning in 1865, he raised funds from private contributors, and the monument was commissioned from Simmons in 1871. The sculptor carved the Carrara marble in Rome and worked directly with Admiral Porter on many changes in the designs, including the addition of other figures. The architectural part of the monument was made by the Bonanni Brothers of Carrara, Italy, under Simmons's direction. The marble pieces were shipped to Washington in 1876; in 1877 the monument was erected on the base of Maine blue granite (designed by Architect of the Capitol Edward Clark); and the final figure, Peace, was set into place in January 1878.
The Palace of Fine Arts was designed by Bernard Maybeck and constructed for 1915 Panama-Pacific Exposition. It is one of the few surviving structures from the Exposition, and the only one still situated on its original site. Built' around a small artificial lagoon, The Palace of Fine Arts is composed of a wide, 1100 foot pergola, an arch formed by rows of Corinthian columns framing a wide walkway, around a central rotunda situated by the water. Ornamentation includes Bruno Louis Zimm's three repeating panels around the entablature of the rotunda representing "The Struggle for the Beautiful" symbolizing Greek culture, while Ulric Ellerhusen supplied the weeping women atop the colonnade and the sculptured frieze and allegorical figures representing Contemplation, Wonderment and Meditation. The underside of the Palace rotunda's dome features eight large insets, which originally contained murals by Robert Reid.
The Palace, one of ten palaces at the heart of the Exhibition--the others being the palaces of Education, Liberal Arts, Manufactures, Varied Industries, Agriculture, Food Products, Transportation, Mines and Metallurgy, and Machinery--was designed to to look like a Roman or Greek ruin. While most of the exposition was demolished, it survived due to the efforts of the Paaace Preservation League. For a time, the Palace housed art exhibits, and during the Great Depression, W.P.A. artists were commissioned to replace the decayed Robert Reid murals on the ceiling of the rotunda. From 1934 to 1942, it was home to eighteen lighted tennis courts. During World War II it was requisitioned by the military for storage of trucks and jeeps. Starting in 1947, the hall was used as a city Park Department warehouse, a telephone book distribution center, a flag and tent storage depot, and a temporary Fire Department headquarters.
By the 1950s, the Palace's structure had in fact fallen into ruins and in 1964 it was demolished, with only the steel structure left standing. The buildings were reconstructed in permanent, light-weight, poured-in-place concrete, and steel I-beams were hoisted into place for the dome of the rotunda. The decorations and sculpture were reconstructed and the only changes were the absence of the murals in the dome, two end pylons of the colonnade, and the original ornamentation of the exhibit hall. In 1969 the former Exhibit Hall became home to the Exploratorium interactive museum, and in 1970 also became the home of the 1,000 seat Palace of Fine Arts Theater.
National Register #04000659 (2005)
Taken the other night in Victoria Park in Kitchener.
Comments & critique always welcomed and appreciated.
Concept first deployed in Berlin by printer Ernst Litfaß in 1854, the cylindrical column thereby known as a Litfaßsäule (Litfaß pillar). Berlin, Germany.
(CC BY-SA - credit: Images George Rex.)
Christchurch, New Zealand
HWW!
~~~ Thank you all for viewing, kind comments, favs and awards - much appreciated! ~~~
Detail of the base of an Ionic column from the Tetrastyle Temple (also known as the Tempio della Sibilla), Tivoli, Italy.
Date: late second century BCE.
Material: travertine base and column drums, which were covered with a layer of stucco.
Inset drawing modified from R. Delbrück, Hellenistische Bauten in Latium (Strassburg 1912).
Compare to the travertine Ionic base from the Temple of Portunus in Rome, perhaps a slightly later date by 25-50 years (note, for example, the difference in the carving of the lower terminus of the fluting):
Prints/Licensing:
Located in the northwest corner of the Basilica Cistern, the bases of two columns reuse blocks carved with the visage of Medusa. The origin of the two heads is unknown, though it is thought that the heads were brought to the cistern after being removed from a building of the late Roman period
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