Full of life, movement and noise - heart of London which is inspiring already. Within the Temple, The Round Church lies surrounded by the ancient buildings in a traffic-free, green place of calm bounded by the rather hazy River Thames and in between the Fleet Street. The entrance through the gateways, possible to take either of the Inner or the Middle Temple which was apparently designed by an amateur of architecture, built in 1684 with brick and huge Ionic pilasters and a pediment. The Inner Template Gateway was made out of timber, plaster and brick with a pleasant looking room located over the gateway.
Where the tides of history have shifted, the place being demolished and rebuilt, damaged then restored, reduced to ruin and again skilfully refurbished. With over eight hundred years of history what draws attention to the building, as it is the one of the most historic. Many have been working on and designing the Temple over the times and leaving the marks of different few architectural styles; the walls and the ceiling decorated in the high Victorian Gothic. Although in the building Norman and Romanesque architecture exists side by side with Gothic: “there is no antipathy between round and the pointed arch” The chapel has been divided into two parts; the Round Church and the Chancel.
Accused of perfection the whole church is made entirely of cream coloured Caen stones. The notable feature makes an east window which depicts some of the characters associated with the building over the centuries.
B
The Round
The original round plan now famed for that circular nave, was modelled after the church in Jerusalem and had a shallow chancel. West doorway is under round-headed arch. Indoors the circle contains of six pillars, ...
... middle of paper ...
...y of buildings of different ages and different times, accommodating chambers and solicitors, also contains some notable legal institutions. It makes a home for music, where concerts, chorals and similar events had and still take place.
Nowadays the Church stands still as the main chapel that functions as an Anglican Parish Church with regular services. The head of the church has a title of “The Master of The Temple” after the head of order of the Knight Templar.
In recent years the place has become a must-see for Brown’s readers, as in his book “The Da Vinci Code” the key scene was set there.
Works Cited
1. Sanders Ann, The Art and Architecture of London, An illustrated guide, 2nd edition, Phaidon Press Limited, 1998. Page. 27
2. Jones Edward, Woodward Christopher, The Guide to the architecture of London,
3. The Temple Church website: www.thetemplechurch.com
With the Pantheon being built over 1700 years ago, it’s amazing that architects are still using features and techniques from this work of architecture in modern creations. The use of this type of classical architecture will continue to be used in works for public space due to its remarkable exterior appearance and it’s long lasting structural durability. When both Jesse hall and the Pantheon are compared it is possible to see their similarities from the types of domes that top each, their external facades, and their interior plan. While they share many similarities, the differences that Bell and Binder used in their creation make this work of architecture unique to many other public spaces.
St Peter’s basilica which is built based on rational form of architecture is a Late Renaissance church located within Vatican City, designed by Donato Bramante. Its significant history is that according to the Catholic tradition this was the place that Saint Peter was buried. Not so far away...
The increase of wealth during the twelfth century allowed artists to showcase their talents in churches. The apse titled Christ in Majesty with Symbols of the Four Evangelists in the church of Santa Maria de Mur displays the representation of divinity through its subject matter, technique, and style. In the apse, the main subjects revolve around scenes from the Old and New Testament with Christ as the focal point. For technique, the artist employed fresco painting instead of mosaics to show the images. The style of the apse avoids a sense of realism by hiding the bodies of the figures in the drapery and using the hierarchy of scale.
Banham, Reyner. "The Plot Against Bernard Maybeck." Journal of the Society of Architectural Historians March 1984, p33-37
During the Romanesque era, pilgrims were the most noticeable characteristic of public religious devotion, proclaiming their faith in the power of saints (Gardner 335). Pilgrims traveled all over Europe to reach the major shrines located in Jerusalem. The large quantity of pilgrims whom wished to visit the saints effected the Romanesque churches architecturally (Gardner 335). Changes in design and structure we being made in order to accommodate the growing crowds of pilgrims. Changes such as longer and wider naves and aisles, transepts and ambulatories with additional chapels and even second-story galleries (Gardner 335). The increase of the pilgrimage routes which allowed more pilgrims to travel in order to visit their saints, established many changes in architectural styles as well as the dissemination of the faith in saints.
Hitchcock, Henry Russell. Early Victorian Architecture in Britain Volumes I and II. New Haven: Yale University Press, 1954.
Within the third chapter, Conversion, Nees offers the idea that the use of multiple religion 's iconography was not a method to induce conversion, rather it was a result of environment. Nees explains “Greek and Roman temples were recognizable by such features as pediments and colonnades, but Christians used any convenient structure” (p. 47). With this assumption in mind, we look to the Baptistry of the Christian meeting-house of Dura (p. 40) where we are presented traces of Greek and Roman architecture. The section of the room that is dedicated to the actual act of baptism is marked by columns and a curved ceiling that resembles a triumphal arch. Future depictions of the ancient architecture can be seen in the Gospel of St Augustine where St Luke is flanked by corinthian columns, while an arch like design sits above him (p. 154). Nees acknowledges this alternative approach to his thesis, but unfortunately does not go into as extensive detail as he did with his main
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...
The Basilica of St. Denis contributed to the rise of the Catholic Church, for it provided a physical representation of the “Holy Jerusalem”, for many people to see. By viewing this representation of heaven, many people reestablished their faith into the church and longed for salvation, so that they can be accepted into the “spiritual heaven” after their death. This desperate attempt to gain salvation caused individuals to devote themselves to the church, which brought the Catholic Church leverage, power, and wealth.
Christ was crucified at but it is also believed that it was where he was buried and then resurrected. Because of this belief, the church has become the foremost pilgrimage site for the Christian religion. The church that stands today is a reconstruction of the original church because the church was damaged throughout the years by fire, invasion, and earthquakes. The original church was rebuilt during the middle ages when an agreement was reached between the Fatimids and the Byzantine Empire. The tomb itself is empty of course but millions come to the church to pay their respects to the religious figurehead.
Cathedrals had a floor plan shaped like a cross. The head of the church pointed east towards the holy city of Jerusalem. The transept, running north and south, represented the cross-bar of the cross. The foot of the cross, at the west end, provided the entrance to the church and personal salvation. The interior of a gothic cathedral gave the worshipper the impression of light and height, with slender columns framing large tall windows and reaching up to support a ribbed stone roof. The exterior was encrusted with statues, bobbly pinnacles, and the open fretwork (interlaced decorative design carved in low relief on a solid background) of flying buttresses. As the worshipper entered the portal, which was the
Swarbrick, John. Robert Adam & his brothers : their lives, work & influence on English architecture decoration and furniture. London : B.T. Batsford ; New York : C. Scribner 1915.
- Kostof, S, A History of Architecture:settings and rituals, 2nd edn, Oxford University Press Ink. Publishers, New York, 1995.
Vidler, Anthony. The writing of the walls: Architectural theory in the late enlightenment. Princeton: Princeton Architectural Press, 1987.
Curtis, W J. "12. The Ideal Community: Alternatives to the Industrial City." In Modern architecture since 1900, 159-173. London: Phaidon, 1996.