By C. Macy

With contributions from provocative paintings and architectural historians, this publication is a distinct exposition of the transitority structure erected for gala's and the position it has performed in constructing Western architectural and concrete concept. pageant structure is prepared in historic classes – from Antiquity to the trendy period – and divided among analyses of particular fairs, set with regards to modern structure and concrete layout rules and theories. Illustrated with a wealth of bizarre and rarely-seen pictures from the eu competition culture, it is a attention-grabbing define of the historical past of pageant structure excellent for postgraduate structure and concrete layout scholars.

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Ann. 24). This rotational direction probably derived from solar orientation and timekeeping. In the northern hemisphere, sundials face south, causing the shadow cast by the gnomon to move in a deosil, or clockwise, motion. Rotational movement in the opposite direction could be considered outside of time and thus integrated with the cosmos, an appropriate association for ritual festivals (Davies 2000: 83–4). Roman races in the circus ran counterclockwise, possibly to reinforce the cosmological and solar meaning of the events, though practical motivations also were at play; racers preferred to keep their right, sword-wielding hand on the outside where there was the greatest freedom of movement.

179–210; Lucr. 625; Stewart 1970). Originating in Asia Minor, the instruments and the music established an exotic atmosphere along the pathway through the great capital city. Philodemus argued that the sounds of numerous different instruments fostered confusion, resulting in the ecstatic possession of the audience (Phld. 11B; Summers 1996: 347–8). The sound was condensed and intensified as the parade moved through the narrow canyons formed by high apartment buildings, becoming more diffused in broad public urban spaces, or when mingled with the crowd noise in theater spaces and other spectator buildings.

Associated with felt production the owner may have made some of the garments worn in the parade, perhaps even those of the goddess (Clarke 2003: 94). The image shows a moment at the end of the parade. Devotees gather around a priest and his assistants as they prepare to sacrifice before a statue of Magna Mater and an altar. Among the sixteen participants, six are women affirming the appeal of the cult to this group, and underscoring the inferior status accorded to parade participants. The goddess wears a mural crown and sits on a throne flanked by lions resting atop a ferculum.

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Festival Architecture (The Classical Tradition in by C. Macy
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