VTG OIL BOARD PAINTING GAZEBO ROTUNDA GARDEN ORCHARD OLD GREEK TEMPLE FOLK ART




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"A WALK IN THE PARK"
OR
"TO THALIA"
GREEK / GRECIAN TEMPLE
OIL ON BOARD
ORIGINAL ART / OA
OOAK / ONE OF A KIND
UNSIGNED
SURREAL / IMPRESSIONISM / NAIVE

CIRCA 1920 - 1930

PRIMITIVE WORK
DEPICTS AN ORCHARD IN FULL SPRING BLOSSOM.
THE GARDEN IS ALIVE WITH FRUIT TREES AND FLOWERING BUSHES OF ALL VARIETY.
A ROUND COLONNADE TEMPLE FROM THE DAYS OF OLD, WHEN THE PAGANS WOULD GATHER AND SING THEIR ODES TO THE GODS.

FRAMED IN A BOLD DARK WOOD FRAME
THE PIECE MEASURES ABOUT
18" X 25"
VERY VICTORIAN
PARLOR FOLK ART
FINE DECOR TO ACCENT YOUR WALLS 

 

 

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FYI

 

 



Greek temples (Ancient Greek: ????, ho naós "dwelling", semantically distinct from Latin templum "temple") were structures built to house the cult statues within Greek sanctuaries. The temples themselves did usually not directly serve a cult purpose, since the sacrifices and rituals dedicated to the respective deity took place outside them. Temples were frequently used to store votive offerings. They are the most important and most widespread building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfil the functions of a temple often continued to follow local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco-Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition.Within a few centuries, the Greeks developed the temple from the small mudbrick structures of the 9th century BC and the 8th century BC into the monumental double porticos of the 6th century, often reaching more than 20 m in height (not including the roof). For their execution, they relied on the regionally specific architectural orders. Originally, the distinction was between the Doric and Ionic orders; since the late 3rd century BC, the Corinthian order provided a third alternative. A multitude of different ground plans were developed, each of which could be combined with a superstructure in the different orders. From the 3rd century BC onwards, the construction of large temples became less common; after a short 2nd century BC flourish, it ceased nearly entirely in the 1st century BC. Thereafter, only smaller structures were newly begun, older temples continued to be renovated or (if incomplete) completed.

Greek temples were designed and constructed according to set rules, mostly determined by the lower diameter of the columns or by the dimensions of the foundation levels. The nearly mathematical strictness of the basic designs thus reached was lightened by optical refinements. In spite of the still widespread idealised image, Greek temples were painted, so that bright reds and blues contrasted with the white of the building stones or of stucco. The more elaborate temples were equipped with very rich figural decoration in the form of reliefs and pedimental sculpture. The construction of temples was usually organised and financed by cities or by the administrations of sanctuaries. Private individuals, especially Hellenistic rulers, could also sponsor such buildings. In the late Hellenistic period, their decreasing financial wealth, along with the progressive incorporation of the Greek world within the Roman State, whose officials and rulers took over as sponsors, led to the end of Greek temple construction. New temples now belonged to the tradition of Roman architecture, which, in spite of the Greek influence on it, aimed for different goals and followed different aesthetic principles.

Cult statue and cella
The functions of the temple mainly concentrated on the cella, the "dwelling" of the cult statue. The elaboration of the temple's external aspects served to stress the dignity of the cella. In contrast, the cella itself was often finished with some moderation. The only source of light for cella and cult statue was the cella's frontal door. Thus, the interior only received a limited amount of light. Exceptions are found in the temples of Apollo at Bassae and of Athena at Tegea, where the southern cella wall had a door, potentially allowing more light into the interior. A special situation applies to the temples of the Cyclades, where the roof was usually of marble tiles. Marble roofs also covered the temple of Zeus at Olympia and the Parthenon at Athens. As marble is not entirely opaque, those cellas may have been permeated with a distinctive diffused light. For cultic reasons, but also to use the light of the rising sun, virtually all Greek temples were oriented to the east. Some exceptions existed, eg. the west-facing temples of Artemis at Ephesos and at Magnesia on the Maeander, or the north-south oriented temples of Arcadia. Such exceptions are probably connected with cult practice.

 

 

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