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Arts of art in religio
The role of religon in art
Arts of art in religio
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People often try to imitate a finished product if it has become popular. When this is done after several years it is considered a revival. Usually the artist or patron has a purpose such as modeling after a powerful culture or religious significance. They may slightly change or mix other styles to make the best of past and present.
In Florence Italy there stands a baptistery. It resides west of the Florence Cathedral, which was modeled after the baptistery. The Cathedral began in 1296 by Arnolfo di Cambio. Although the two resemble each other, they are considered to be from two different styles. The Baptistery of S. Giovanni is categorized as Romanesque while the cathedral is considered Gothic. The exterior of the cathedral doesn't appear to be Gothic, it's the interior that is. The baptistery possesses an octagonal structure with an extension to the west. This extension was originally an apse. There are doors to the north, south, and east sides. All of the doors are decorated with beautiful sculptures. The first doors were done by Andrea Pisano and set the standards for the next to come. The second set, the first done by Lorenzo Ghiberti, were originally hung on the east end, but were soon moved to the north side to make room for the final set. These final doors, by Ghiberti, have earned the name 'Gates of Paradise.'; The name S. Giovanni was given to the baptistery because of the remains of Piazza S Giovanni found beneath the floor in a medieval cemetery. Historians have argued the baptistery's date for a few hundred years and it is still completely unsure what is it. The first recorded documentation of the baptistery's existence was March 4th, 897. Many have come to agree that the original constructed was during the 6th and 7th centuries and much of the restoration happened around 1059. Through the years nature's forces have taken their toll upon the San Giovanni. Several restorations have been made to the exterior and the interior since the 10th century. The most drastic change done would have to be the exterior marble. Around 1293 the corner pilasters were reconstructed with alternating slabs of green and white marble. This technique wasn't ever seen in the Florentine school and was assumed to have originated in Pisa. The use of alternating marbles and the arcade sills wrap around the entire building. It gives a sense flowing continuity.
once i had a huge ass dog but the mother fucker bit my fucking hand off
In the traditional political history of Italy the people outside of the ruling class of the society were rarely studied. Only with the use of social history did the issues of class and gender begin to be debated by scholars. Numerous recent articles have done a great job of analysing particularly men of high status. In this paper I will look at the lower classes of Renaissance Florence. More specifically, I will center my focus on the lives of women during this era, how they were treated and viewed by people of other classes and how women were viewed and treated by men.
The churches are built almost entirely of stone. Built on a symmetrical concept, they both have three portals as an entrance to the nave. Symmetrical towers rise several stories above the left and right portals. It is important for one to recognize that the stone ribbed vaulted ceilings were added on after the
The Basilica of St. Denis was originally built in 500-599 AD, but was later reconstructed by Abbot Suger in c.1135-1144. Although its original architect is unknown, it is most famous for its reconstruction that was overseen by Abbot Suger (Panofsky). This basilica is also well known for its representation of Europe’s architectural shift from the Romanesque style to Gothic. The Gothic style brought new designs and was dubbed the “transformat...
These bronze doors have 5 panels on. each side, containing scenes from the Old Testament. They were dubbed “ The Gates of Paradise,” by Michaelangelo, and was Ghiberti’s greatest work. Ghiberti also made a larger than life statue of the Arte dei Mercani di Calimala’s(the guild of the merchant. bankers) patron saints.
As I walked up the street toward the front of Grace Cathedral, I was in awe at the size and ornateness of this cathedral. It was tall and wide and looked very much like the churches we had been studying in class in the prior weeks. As I got closer and closer I began to make out The Ghiberti Doors, also known as the gates of paradise. These are the main cathedral doors made out of bronze, and are replicas of the originals which stood centuries ago at the east entrance to the Baptistry of Florence Cathedral (the Duomo) Italy. I approached and spent about fifteen minutes, just examining all the different engraved scenes within the ten sections in the two doors. After I had finished looking at the Ghiberti Doors, I entered through one of the side doors, since you are not able to use the Ghiberti Doors, because they weight too much. Before I stepped inside the cathedral, I pulled out my text analysis and read over it, so that when I entered I could examine whether or not this cathedral exuded the same sacredness as the cathedral in the text analysis. I feel this Cathedral really does exude not entirely the purity of heaven, but does seem to somewhat separate you from the outer world, as Abbot Suger spoke of. Also, it brings in some of the surrounding beauty from St. Denis, such as the sapphire and stained glass, as well as the gold plating.
There can be found an inscription on the In the lower order there are five entrances to the atrium, over which are nine windows, three of which possess a balcony. The main window, the “Benediction Loggia”, where the Pope gives his blessing upon his election, and at Christmas and Easter. When Maderno added the nave, which is the main body of the church, he transformed Michelangelo’s Greek cross plan into one followed by early Medieval cathedrals. This plan was heavily criticized for ruining the effect of the dome, which was designed by Michelangelo. Not only is the Façade criticized for ruining the effect of the dome, it is also criticized for being too rushed.
Monuments such as the Dome of the Rock in Jerusalem and San Vitale in Ravenna, perform a great importance in Byzantine and Islamic architecture. Both of these structures did not exclusively represent the main place of worship, but most importantly as a symbol of achievement and growth within the current times of construction. Starting in 524, under the influence of Orthodox bishop Ecclesius, the development of San Vitale was to represent the achievements of the emperor Justinian. Julius Argentarius was the sponsor for this structure and it was dedicated by Bishop Maximian in 547. The Dome of the Rock is built on the Temple Mount in Jerusalem in 692 with the help of Abd al-Malik with the suspected intention to symbolize Islams influence in Jerusalem and its involvement in a highly Jewish and Christian supremacy. Although separated by over 100 yrs, both of these domes share multiple similarity's including a projected confidence of their originating culture.
During the Renaissance, Florence profited from a mercantile economy due to the guilds, the quality and variety of goods and the style and management of the market place.
Thesis: Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction offers St. John the Baptist more flexibility in design and style. Still, their likeness and variations extend far beyond the realm of their design.
This cathedral was built during the Medieval Period for the worshipers of God. To this day pilgrims come to see the pure, Gothic cathedral. The massive cathedral seems to loom overhead as if a symbol of God watching over the worshippers that visit. The earlier church burned in 1194, it was rebuilt and has gained a much more appreciated and admirable character distinction, statuary, and stained glass. The distinct character of the thirteenth century was captured, through the “Age of Faith” period. The architecture is Gothic which was very popular in the 1200s. Gothic architects created a frame of support with columns and arches so that the walls no longer need to support the ceilings, but are freed up to hold windows. The Gothic structure allows for plenty of windows. Chartres has a significant collection of medieval stained glass, with over 150 early thirteenth century windows. The windows allowed sunlight to enter the dark, Gothic cathedral in order to highlight the story of Christ through the stained glass windows told throughout history to pilgrims alike. These windows create a spiritual and promising place for thought and prayer. Stained glass was used to help teach the stories of Christ to people that were illiterate during the medieval times. While most worshippers of that day were illiterate, comprehending the symbolism of the story of Christ in each of the windows was vital and gave meaning towards adversity during the medieval ages, as they struggled through their dark and dreary lives, which were filled with hopefulness, while viewing the story through the stained glass windows. The windows are also...
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
Abbott Suger wanted to make Saint Denis a magnificent showplace as the royal Abbey church of France and burial place of French kings. Ribbed vault which were capable of spanning large areas was designed to make gothic churches larger.
Originally a Gothic town hall, the Palazzo della Ragione or Basilica (commissioned in 1549), was on the verge of crumbling and Palladio won a competition to redesign it. His answer was to encase it on three sides with a two-storey loggia that provided reinforcement and transformed the exterior with classic columned arcades on two levels. Arches were placed between pilasters, Doric on the lower level, Ionic above, supporting entablatures. In each bay, the arch rests on small columns placed away from the larger pilasters with a rectangular gap in between - now known as the ‘Palladian motif’.