Pre Renaissance Architectural Drawings (2015)

(B082084) 11



Architectural History 1 Course
ARCH08003




Question Four: How common were architectural drawings before the Renaissance, for what purposes were they used, and how necessary were they?

Examination Number: B082084








As structural elements, technological advancements, and artistic preferences evolved with the progression of civilizations, so did the embodiment of architectural drawings, in compliance to their respective cultural and societal atmospheres. With that said, this investigated evolutionary development accompanies evident differentiations amongst the commonality, purpose , and necessity of architectural drawings in time periods that preceded the Renaissance . In order to analyze and evaluate these differentiations, it is vital to centralize the investigation of such architectural drawings within a fixed scope of time. In particular, the Renaissance time period had begun in the fourteenth century in Italy , followed by a continuation of two more centuries (1300-1700 A.D). Amongst the most prominent of Pre- Renaissance civilizations are those of Ancient Egypt, Ancient Greece, Ancient Rome, and Medieval Europe . Within the chronological, technological, and artistic progressions that accompanied these civilizations are conspicuous developments. These developments particularly include the increased diversity, precision , necessity, and commonality in the architectural representations of each time span.

Before the visual representations of structural forms have evolved into precise complexities, it is vital to acknowledge that ground plans were considered one of the earliest exemplars of architectural drawings. These particular ground plans of very low commonality and in their most simplified forms, began to emerge within the ancient Mesopotamian and Egyptian civilizations. Focusing particularly on the Ancient Egyptian civilizations, "the majority of the surviving working drawings" had been believed to "consist of more or less elaborated plans where the dimensions were written out." Nevertheless, it was also argued that only in a "few cases" did these elaborated plans ever "correspond to the written measures". To further elaborate, these representations were drawn "to scale" for the most part, yet there were inconsistencies within the proportions in "some elements." To supplement this perception, the Egyptologist Norman de Garis Davies also interpreted these ground plans as those which contained "a scale reduction" that was "badly plotted out", wondering "whether we do justice to the ancient architect when we accuse him of having been careless." Hence, these inaccurate sketches, did not compare "to the concept of precision in our modern day scale drawings." An applicable exemplar of these imprecise and excessively simplified representations can be envisaged in Figure 1.
Figure 1: Plan architectural drawing on limestone" which was "found in the Valley of Kings", showcasing "the Rock Tombs of Ramses IX" who had "reigned between "1142-1123 BC."
Despite the perceptions that deem the Ancient Egyptian drawings as imprecise and oversimplified, a particular argument provides a succinct reasoning behind this excess simplicity. Particularly, it has been argued that the ultimate purpose behind these depictions was not derived from the Ancient Egyptians architects' necessities to tackle very mathematically perplexing issues . Instead, it was rather a desire for orientation on an intuitive level, hence not requiring an intensive amount of detailing that was then incorporated in later civilizations. This fragment of information automatically leads one to understand the reasoning behind such simplicity. Further elaborating on reasoning and necessity, "drawing fragments" of these uncommon and simplified ground plans were intended to serve "as working guides for the foremen on the job." This necessity was argued given that "the architect was not yet entirely freed from the site through the exclusive use of drawing" as more elaborate details were communicated verbally. Lastly, as the Egyptian civilization had progressed since its beginning , section architectural drawings began to accompany the existing Egyptian plan and elevation drawings , as early as 100 BC, whilst still maintaining their uncommon presences and simplicity in design . This progression marks one of the very beginnings of diversification in architectural drawing which was later followed by more differentiated styles with the progression of time and technology.
Similar to the architectural representations of the Ancient Egyptian Era, architectural drawings within the Ancient Greek civilization were not common either, neither were they "mentioned" in the majority of " Greek historical or literary sources" . Instead, "Greek Architects drew with words" accompanying predominant "architectural models" rather than drawings. In compliance with this perception , J.J Coulton argues that the majority "of the Greek Architect's work involved the practical aspects of building during construction." This perception can further be elaborated on whereas Coulton continues to argue that Greek Architectural drawing "had no part in the process of either design or construction", implying that these drawings were not so common, nor purposeful . Instead, it was rather the "stone mason" who was deemed to be the "central agent of the art of Architecture", as he operated based on verbal" descriptions "set down" by his architect. This verbal procedure has recurrently been "referred to as syngraphai." Hence, it can also be derived from this previous viewpoint that not only were Greek Architectural drawings uncommon , but they also did not carry a remarkable necessity.
Contrary to the widespread preconception that Greek Architectural drawings were relatively trivial in the establishment and design of structure , it has been argued otherwise by Spiro Kostof and Lothar Haselberger. Specifically , Kostof strongly believed that such architectural drawings were instrumental as " a part of Greek Architectural practice on two grounds." The most prominent ground included "the refinement of the elevations" that was deemed "extremely difficult" to establish, without the implementation of "preliminary drawings to scale." The "role of graphics in ancient design" which was also a vital component in Greek Architecture, couldn't have also been established properly without these drawings , in Kostof's opinion. As for Haselberger's discoveries, a series of "blueprints etched in stone" were revealed "for the construction of the temple at Didyma" in Ancient Greece. This very rare , yet prominent discovery, not only substantiates Kostof's viewpoint about the necessity of these drawings, but also debunks Coulton's previous claims. Haselberger then further derives from discoveries of these "scaled down sketches" of the temple's "architectural elements" that they were "clearly" utilized to "elaborate the component parts of the temple" and "often highly involved " in the process of design." This ultimately sets a definite purpose to these rare drawings in relation to the structure established. Lastly, early section Architectural drawings in ancient Greece began to emerge as early as 340 BC, evidently indicating a slight progression in the diversity of existing Ancient Greek drawings.
In contrast to the relatively low commonality of Ancient Greek Architectural drawings, "a little bit more" about "the Architectural drawings of Imperial Rome" is known. Additionally, predominant "plans" and "elevations were widely used by the architect and patrons." Hence, it can be evinced that the commonality of architectural drawings has evidently progressed in presence since the Ancient Egyptian civilization . Moreover, the purpose and necessity of the "preliminary" architectural "drawings" , depicted during Ancient Rome, were deemed as vital. This can be exemplified in The Historical Development of Architectural Drawing to the End of the Eighteenth Century article where it was conspicuously mentioned that: "the elaborate forms and multiplication of parts which developed in the great Roman buildings could scarcely have been achieved without the aid of preliminary drawings." Nevertheless, as exemplified in Figure 2 , and very similarly to the architectural drawing styles of the Ancient Greek and Egyptian civilizations, a very simplistic and "primitive" depiction can be envisaged. This substantiates that the "insistence on" the "primitive plan form" that was prevalent in "ancient drawings" develops "an imaginative grip on the realities of the problems lacking in more recent work."



Figure 2 : " A Roman plan on marble belonging to the second half of the first century AD"


Regardless of these imprecisions in "ancient drawings", ancient structures built within the Ancient Egyptian, Greek, and Roman civilizations were characterized with "straightforwardness" and practicality which did not require excessive detail. This simplicity evidently juxtaposes the "personal fanciful and subjective" outlooks that had emerged more frequently in the Gothic and Renaissance time periods. Lastly, it was believed that "the roman draughtsman could make a straightforward and convincing statement of a plan that is clear from such engraved marble fragments" , reinforcing that Roman Architectural drawings were instrumental to the communication of the structural procedure, despite their simplistic style.
Initially, architectural drawings of "Early Gothic churches" in Medieval Europe were deemed as "uncommon", similarly to the low commonality of the earlier civilizations' depictions. Regardless, "drawings of the later" Middle Age period began to diversify significantly into "several categories". At the "extremes are working drawings" that "were intended as the basis for construction" , in addition to "existing buildings, represented either as they are or with imagined variations." Other drawings consisted occasionally "of purely theoretical designs, such as the numerous studies for vault patterns." Many of these drawings were "evidently revised before execution", reinforcing that attention to complex detail has become more vital since the earliest architectural representations. Very "impressive elevation drawings" were also depicted to for the purpose of persuading "authorities to build." Speaking of complex mathematical precision , the majority Cathedrals were designed in quite sufficient detail "through the use of a myriad of different kinds of plan drawings" that were "laid out geometrically" in "well established traditions." Relative to the comparatively simplistic architectural drawings of earlier civilizations, an exemplar that validates the increased level of detail in Middle Age architectural drawing is Figure 3 .


Figure 3: " A Twelfth Century Plan of the Cathedral" of "Caterbury"





Scrutinizing Figure 3, the methodology behind executing and scaling this drawing "conveys a remarkable amount of information. " This can be exemplified by detailed depiction of several components such as the "water ducts and sewers" that were "clearly indicated". Hence , " a clear impression" of the building as " a whole" can be derived from the meticulous and scaled detail of this intricate architectural drawing. It is also essential to point out that this depiction was argued to be "more of a personal reminiscence than a statement of fact" , accompanying a "fanciful subjective outlook on the fundementals of design." In conclusion, while the earliest of civilizations portrayed intuitive and uncommon architectural drawings of limited diversity, those of the Gothic Period began to incorporate very tasteful, subjective, and personlized styles. While earlier drawings remained simplistic to focus on practicality and orientation, those of the Middle Ages had become more articulate and impressive.
Despite the fact that "shifts in the use of drawing presaged subsequent changes" in transition "from the ancients to the Middle ages", several concerns have been expressed, relative to the more diversified and complex Renaissance drawings. During the Renaissance, very proportional "modern architectural scales" and the increased "use of paper" prevailed, in addition "the use of section perspective drawings" that "supplanted the standard orthogonal section" depictions. On the contrary, even during the Late Middle ages did their architectural drawings lack perfected "drafting techniques". Like in the preceding civilizations, not only were architectural drawings rare and undiversified within these civilizations, but their "notion of scale" was unclear as well.
Although the architectural drawings in the Renaissance period were considered to be the epitome of commonality, precision and diversity in scale and application, relative to those of the preceding periods , it was essential to scrutinize and analyse the developments that led up to this evolutionary process. This investigation of Pre Renaissance drawings is a vital observation that would provide insight into how the necessity and purpose of architectural drawings are directly related to their level of precision and commonality. More importantly , such analysis will also help inspire future architects to continue to build on these existing design fundamentals with more precision and tasteful personalization.


















J. Curl , 'The Oxford Dictionary of Architecture' (Third ed.), (2015), p.543.
I. Campbell , 'Drawing of Architectural History' , Edinburgh University. 12 Oct. 2015. Lectured PowerPoint Presentation Slide:16.

C. Rossi, 'Documents on the planning and building process', Architecture and Mathematics in Ancient Egypt (2004), p.105.

Rossi, 'Documents on the planning and building process', p.106.

J.N, Davies, 'Journal of Engineering and Architecture , (1996) , p.196.

Davies, 'Journal of Engineering and Architecture , (1996) , p.196.

J, Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century' in Art and Architectural Archive (search.proquest.com.ezproxy.is.ed.ac.uk/artarchitecture/docview/13366431732)


Rossi, 'Ancient Mathematics and practical operations', p.88.

E, Robbins, 'Drawing in History' , Why Architects Draw, (1994) , p.10.

Robbins, 'Drawing in History', p.10.

Campbell , 'Drawing of Architectural History' , PowerPoint Presentation Slides: 20-24.
J,Coulton, Ancient Greek Architecture (1977) , p.54-60

Coulton, Ancient Greek Architecture , p. 16
Coulton, Ancient Greek Architecture , p. 16
S. Kostof Architecture in the Ancient Greek World (1997), p. 3-27
L. Haselberger, 'The construction plans for Temple of Apollo at Didyma', (1985), p.126-132.
Haselberger, 'The construction plans for Temple of Apollo at Didyma', p.126-132.
Campbell , 'Drawing of Architectural History' , PowerPoint Presentation Slide:21.
J, Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century' in Art and Architectural Archive
Robbins, 'Drawing in History, ' p.10.
Burford, 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century.'

Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
Burford, 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century.'

Burford, 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century.'

C.Hourihane, The Grove Encyclopedia of Medieval Art and Architecture (2012) , p.136
Hourihane, The Grove Encyclopedia of Medieval Art and Architecture , p.136

Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, p.136

Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, p.136

Robbins, Why Architects Draw, p.12.

M. Hewit, Representational Forms and Modes of Conception, p.2
Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
Burford. 'The Historical Development of Architectural Drawing to the End of the Eighteenth Century'
M. Hewit, Representational Forms and Modes of Conception, p.7
Robbins, Why Architects Draw, p.12.

Robbins, Why Architects Draw, p.12.