hypaethrus: Difference between revisions
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In classical architecture, [[hypaethral]] describes an ancient temple with no roof. (From the Latin hypaethrus, from Ancient Greek ὕπαιθρος hupaithros ὑπό hupo- "under" and αἰθήρ aither "sky, air".) It was described by the Roman architect Vitruvius in his treatise On Architecture, written for the emperor Caesar Augustus probably about 15 BC. | |wketx=In classical architecture, [[hypaethral]] describes an ancient temple with no roof. (From the Latin hypaethrus, from Ancient Greek ὕπαιθρος hupaithros ὑπό hupo- "under" and αἰθήρ aither "sky, air".) It was described by the Roman architect Vitruvius in his treatise On Architecture, written for the emperor Caesar Augustus probably about 15 BC. | ||
However, at the time Vitruvius wrote (c. 25 AD) the cella of this temple was unroofed, because the columns which had been provided to carry, at all events, part of the ceiling and roof had been taken away by Sulla in 80 BC. The decastyle temple of Apollo Didymaeus near Miletus was, according to Strabo (c. 50 BC), unroofed, on account of the vastness of its cella, in which precious groves of laurel bushes were planted. | However, at the time Vitruvius wrote (c. 25 AD) the cella of this temple was unroofed, because the columns which had been provided to carry, at all events, part of the ceiling and roof had been taken away by Sulla in 80 BC. The decastyle temple of Apollo Didymaeus near Miletus was, according to Strabo (c. 50 BC), unroofed, on account of the vastness of its cella, in which precious groves of laurel bushes were planted. | ||
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The problem was apparently solved in another way at Bassae, where, in the excavations of the temple of Apollo by Cockerell and Baron Hailer von Hallerstein, three marble tiles were found with pierced openings in them about 18 inches by 10 in.; five of these pierced tiles on either side would have amply lighted the interior of the cella, and the amount of rain passing through (a serious element to be considered in a country where torrential rains occasionally fall) would not be very great or more than could be retained to dry up in the ceila sunk pavement. In favor of both these methods of lighting, the interior of the cella, the sarcophagus tomb at Cyrene, about 20 feet (6.1 m) long, carved in imitation of a temple, has been adduced, because, on the tor of the roof and in its centre, there is a raised coping, and a similar feature is found on a tomb found near Delos; an example from Crete now in the British Museum shows a pierced tile on each side of the roof, and a large number of pierced tiles have been found in Pompeii, some of them surrounded with a rim identical with that of the marble tiles at Bassae. | The problem was apparently solved in another way at Bassae, where, in the excavations of the temple of Apollo by Cockerell and Baron Hailer von Hallerstein, three marble tiles were found with pierced openings in them about 18 inches by 10 in.; five of these pierced tiles on either side would have amply lighted the interior of the cella, and the amount of rain passing through (a serious element to be considered in a country where torrential rains occasionally fall) would not be very great or more than could be retained to dry up in the ceila sunk pavement. In favor of both these methods of lighting, the interior of the cella, the sarcophagus tomb at Cyrene, about 20 feet (6.1 m) long, carved in imitation of a temple, has been adduced, because, on the tor of the roof and in its centre, there is a raised coping, and a similar feature is found on a tomb found near Delos; an example from Crete now in the British Museum shows a pierced tile on each side of the roof, and a large number of pierced tiles have been found in Pompeii, some of them surrounded with a rim identical with that of the marble tiles at Bassae. | ||
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==Wikipedia DE== | ==Wikipedia DE== | ||
Als Hypäthraltempel (griechisch ὑπαίθριος „unter freiem Himmel“) bezeichnet man einen Tempel, dessen Cella – beim Hypäthraltempel Sekos genannt – nicht überdacht war. Ein frühes Beispiel hierfür war der archaische Dipteros der Artemis von Ephesos, der wohl als Hypaithros konzipiert war. | Als Hypäthraltempel (griechisch ὑπαίθριος „unter freiem Himmel“) bezeichnet man einen Tempel, dessen Cella – beim Hypäthraltempel Sekos genannt – nicht überdacht war. Ein frühes Beispiel hierfür war der archaische Dipteros der Artemis von Ephesos, der wohl als Hypaithros konzipiert war. | ||
Revision as of 11:25, 13 October 2022
Latin > English (Lewis & Short)
hypaethrus: or -os, a, um, adj., = ὕπαιθρος,
I that is in the open air, uncovered.
I Adj.: ambulationes, Vitr. 5, 9 med.: loca (with aperta), id. ib.—
II Subst.
A hy-paethros, i, m., a temple open or without roof, Vitr. 3, 2, 1.—
B hypaethrum, i, n., an open building, Dig. 33, 7, 12, § 20; id. 50, 16, 242, § 2.—
C hypaethra, ōrum, n., uncovered, open walks, Vitr. 1, 2.
Latin > English
hypaethrus hypaethra, hypaethrum ADJ :: uncovered
Wikipedia EN
In classical architecture, hypaethral describes an ancient temple with no roof. (From the Latin hypaethrus, from Ancient Greek ὕπαιθρος hupaithros ὑπό hupo- "under" and αἰθήρ aither "sky, air".) It was described by the Roman architect Vitruvius in his treatise On Architecture, written for the emperor Caesar Augustus probably about 15 BC.
However, at the time Vitruvius wrote (c. 25 AD) the cella of this temple was unroofed, because the columns which had been provided to carry, at all events, part of the ceiling and roof had been taken away by Sulla in 80 BC. The decastyle temple of Apollo Didymaeus near Miletus was, according to Strabo (c. 50 BC), unroofed, on account of the vastness of its cella, in which precious groves of laurel bushes were planted.
Apart from these two examples, the references in various writers to an opening of some kind in the roofs of temples dedicated to particular deities, and the statement of Vitruvius, which was doubtless based on the writings of Greek authors, that in decastyle or large temples the centre was open to the sky and without a roof (medium autem sub diva est sine tecto), render the existence of the hypaethros probable in some cases; and therefore C. R. Cockerell's discovery in the temple at Aegina of two fragments of a coping-stone, in which there were sinkings on one side to receive the tiles and covering tiles, has been of great importance in the discussion of this subject. In the conjectural restoration of the opaion or opening in the roof shown in Cockerell's drawing, it has been made needlessly large, having an area of about one quarter of the superficial area of the cella between the columns, and since in the Pantheon at Rome the relative proportions of the central opening in the dome and the area of the rotunda are 1:22, and the light there is ample, in the clearer atmosphere of Greece it might have been less. The larger the opening, the more conspicuous would be the notch in the roof which is so greatly objected to; in this respect, Jacques Hittorf would seem to be nearer the truth when, in his conjectural restoration of Temple R at Selinus, he shows an opaion about half the relative size shown in Cockerell's of that at Aegina, the coping on the side elevation being much less noticeable.
The problem was apparently solved in another way at Bassae, where, in the excavations of the temple of Apollo by Cockerell and Baron Hailer von Hallerstein, three marble tiles were found with pierced openings in them about 18 inches by 10 in.; five of these pierced tiles on either side would have amply lighted the interior of the cella, and the amount of rain passing through (a serious element to be considered in a country where torrential rains occasionally fall) would not be very great or more than could be retained to dry up in the ceila sunk pavement. In favor of both these methods of lighting, the interior of the cella, the sarcophagus tomb at Cyrene, about 20 feet (6.1 m) long, carved in imitation of a temple, has been adduced, because, on the tor of the roof and in its centre, there is a raised coping, and a similar feature is found on a tomb found near Delos; an example from Crete now in the British Museum shows a pierced tile on each side of the roof, and a large number of pierced tiles have been found in Pompeii, some of them surrounded with a rim identical with that of the marble tiles at Bassae.
Wikipedia DE
Als Hypäthraltempel (griechisch ὑπαίθριος „unter freiem Himmel“) bezeichnet man einen Tempel, dessen Cella – beim Hypäthraltempel Sekos genannt – nicht überdacht war. Ein frühes Beispiel hierfür war der archaische Dipteros der Artemis von Ephesos, der wohl als Hypaithros konzipiert war.
Der Sekos konnte wie ein Innenhof ausgebildet sein, in dem frei das Adyton stand, das selbst in der Gestalt eines Tempels konstruiert sein konnte (z. B. Didyma, Apollon-Tempel). Zugänglich war der Sekos durch die überdachte Vorhalle, den Pronaos. In Didyma steigerte man Wirkung und Dramatik des riesigen Sekos durch eine 15 Meter breite, von Wangen gefasste Freitreppe mit 24 Stufen, die vom überdachten Pronaos in den abgesenkten 22 Meter breiten, 54 Meter langen und über 25 Meter hohen Innenhof führte, dessen Wände durch Pilaster auf einem hohen Sockel gegliedert waren. In einem Sekos dieser Größe hätte selbst der stattliche Athenatempel von Tegea Platz gefunden.
Wikipedia ES
Hipetro, hípetro o hypetros son términos utilizados para describir un edificio o un espacio arquitectónico que no está cubierto por un techo.
Proviene del griego hypaethros, un tipo de templo griego cuya cella queda a cielo abierto y, por extensión, cualquier edificio o parte del mismo sin techo.
En la arquitectura egipcia monumental, la «sala hipetra» solía estar rodeada de columnas, a manera de patio porticado. Era el espacio arquitectónico descubierto del templo egipcio, siendo inmediatamente posterior a los pilonos de la entrada y anterior a las «salas hipóstilas» cubiertas, donde se hallaba la cella que guardaba la imagen de la divinidad. Las primeras hipetras se construyeron en los templos anexos de los complejos de las pirámides de Keops y Micerino. Esta disposición influyó en el diseño de los megarones micénicos.
También se construyeron templos sin techo en la India, en los estados de Orissa, Madhya Pradesh y Uttar Pradesh en los silgos VIII al XI. Estos templos hipetros de planta redonda o rectangular fueron dedicados a las diosas llamadas Yoginis (Yogini Cult and Teples, Vidya Dehejia; templos de Yoginis en la India, Stella Dupuis).
Wikipedia IT
Ipètro (dal greco ὕπαιθρος: da υπό, sotto e αίθρα, cielo, letteralmente 'a cielo aperto', privo di copertura) è la conformazione particolare di un tipo di templi antichi circondati da una peristasi di colonne, ma privo di copertura sulla parte centrale (cella o navata centrale). Estensivamente l'aggettivo ipetro può riferirsi ad un edificio totalmente o parzialmente scoperto.
Il suo utilizzo non è frequente ed è generalmente legato a dimensioni talmente colossali da rendere impossibile la realizzazione della struttura lignea del tetto. Risulta difficile, dalle risultanze archeologiche, identificare con certezza esempi di tale tipologia. Tuttavia il tempio ipetro (o ipetrale) è ricordato da Vitruvio nel De architectura, dove tra l'altro si dice che il cortile (ovviamente a cielo aperto) posto al centro della cella presentava sui quattro lati due ordini sovrapposti di colonne («columnas in altitudine duplices»).
Wikipedia RU
Гипефр (греч. ὕπαιθρος — находящийся под открытым небом, от греч. ὑπό — под и греч. αἰθήρ — воздух) — разновидность архитектуры (чаще всего храмовой) в древней Греции: здание, в крыше которого устроено посередине отверстие, род более или менее обширного открытого люка, служившего для пропуска света внутрь сооружения. Подобным отверстием снабжались преимущественно храмы значительного размера — например, храм Аполлона Эпикурейского близ Фигалии в Аркадии, Храм Посейдона в Пестуме, афинский Парфенон, храм Зевса в Олимпии и др. Отверстие обыкновенно подпиралось изнутри двойным рядом колонн, соединённых между собой горизонтальными балками. Гипефром называлось также решётчатое окно в верхней части главной входной двери в храм, пропускающее в него воздух и отчасти свет, а вместе с тем придающее большую красоту и величественность внешнему виду двери.
