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Construction of st. peter's basilica
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One of the most important and the largest monument and public space is the St. Peter’s Basilica ("St. Peter's Basilica" ). It initially built by the emperor Constantine on top of St. Peter’s grave (SCTJM 2006) . It was done when Pope Sylvester I was the head of the church ("St. Peter's Basilica" 2014). What we see right now the renovated version of St. Peters. Once the old church started to deteriorate Pope Nicolas V declared it to be unsafe and requested Bernardo Rossellino to rebuild the church. After Pope Nicolas V died Pope Julio II decided to continue with the idea ("St. Peter's Basilica" ). Thus in 1506 AD the construction of the new church began under the leadership of Donato Bramante (Hayes 2010). Through the construction of the basilica it had many lead architect work on it. The leaderships flowed from Bramante to Raphael to Fra Giocondo to Giuliano da Sangallo to Baldassare Peruzzi to Antonio da Sangallo and finally Michelangelo (("St. Peter's Basilica" 2014). Then in 1626 AD new church was opened("St. Peter's Basilica" ). The architects who worked on the basilica made sure the final product portrays the magnificence of the Catholic Church. Along with that they also added symbolic architecture on the interior and exterior of the Basilica. From the placing of the pillars to the minute details as the bee on the Altar of the Confession holds deep symbolic and theological meanings (Croisette 2014).
Starting from the exterior, the Basilica has many symbolic structures and statues. One example is the piazza lined by colonnades- also known as St. Peter’s square. It shaped in a manner that makes it look like an arm stretched out to welcome. The architect himself explained the idea as “the motherly arms of the church”. It is...
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...zza." Last modified 2005. Accessed April 14, 2014. http://honorsaharchive.blogspot.com/2005/09/st-peters-piazza.html.
Tighe, S.P. Arch, Steeples and Dom: Religious Symbols on a Journey of Faith. Indiana : Authour House, 2009. http://books.google.com/books?id=fax-HoMP7I8C&pg=PA73&dq=symbolism in st peter's basilica&hl=en&sa=X&ei=ikBMU-fgKpHmsATxk4CACA&ved=0CE0Q6AEwBg
World site guides, "St. Peter's Basilia, Rome." Last modified April 03, 2011. Accessed April 14, 2014. http://www.worldsiteguides.com/europe/italy/rome/st-peters-basilica/.
Hassett, Maurice. The Catholi Encylopedia, "History of the Christian Altar." Last modified 1907. Accessed April 16, 2014. http://www.newadvent.org/cathen/01362a.htm.
McClendon, Charles B. "The History of the Site of St. Peter's Basilica, Rome." Perspecta. (1989): 32-65. http://www.jstor.org/stable/1567138 (accessed May 2, 2014).
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
...ral (138 ½ feet), Michelangelo’s St. Peter’s (137 ½) and Wren’s St. Paul’s (109 feet). Until steel and concrete technology advanced in the 19th century, no single spaces were larger than these. Bibliography Dirimtekin, Feridun. [1964]. Saint Sophia Museum. Istanbul: Touring and Automobile Club of Turkey. Fossati, Gaspare. 1852. Aya Sofia, Constantinople : as recently restored by order of H. M. the sultan Abdul-Medjid. London: R. & C. Colnagni & Co. James Stevens Curl. Classical Architecture: an introduction to its vocabulary and essentials, with a select glossary of terms. New York: Van Nostrand Reinhold, 1992. ISBN 0-442-30896-5. NA260.C87. interior photo of circular space (photo of the prostyle octstyle portico of the Pantheon) William L. MacDonald. The Architecture of the Roman Empire I. New Haven, CT: Yale University Press, 1982. ISBN 0-300-02818-0. LC 81-16513
Crivellari, Domenico, and Maria Da Villa Urbani, eds. Basilica di San Marco. Procuratoria di San Marco Venezia. 2003.
Parker, Freda. "The Pantheon â Rome â 126 AD | Monolithic." Monolithic. N.p., 12 May 2009. Web. 04 Apr. 2014. .
Ziggy Marley once said, “God is like the sun. When the sun shines, it shines for everyone. God is for everyone.” In the same way, Abbot Suger built the Basilica of St. Denis so that sunlight would flood throughout the building and symbolize the power of God inviting visitors into the cathedral. The Basilica of St. Denis was an artistic response to the rise of the Catholic Church’s power for it was modeled to be a physical representation of heaven, which the church heavily preached upon. (Thesis) As the basilica represented the shift from Romanesque architecture to Gothic, Abbot Suger introduced new techniques that transformed cathedrals to look more spacious and “heavenly”. (Map Statement #1-Art History) By allowing sunlight to come through the large windows, Abbot Suger instilled the Neo-Platonic idea that the sun was the physical representation of God. (Map Statement #2 –Philosophy) Also, at that time, the church was rising in power, so the new structural style of the basilica brought more converts and eventually more power to the church. (Map Statement #3 –Social Institutions) [Insert Literature Map Statement] The Basilica of St. Denis was built so that worshippers would be in awe of the “heaven-like” setting, which would cause more people to declare their faith to God and to the church.
Marcel Le Glay, Jean-Louis Voisin, Yann Le Bohec. A History of Rome. West Sussex, UK: Wiley-Blackwell, 2009.
The Façade, designed by the architect Carlo Maderno, “Is 114.69 metres wide and 48 metres high, and has an order of Corinthian columns and pilasters, over which lies an imposing cornice with a central tympanum, crowned by a balustrade with thirteen statues (nearly 6 metres high).” There can be found an inscription on the entablature stating that the Façade was built under Pope Paul V Borghese. In the lower order there are five entrances to the atrium, over which are nine windows, three of which possessing 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,
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.
The positions of the stories in the apse show the importance of the figures represented in the images. Christ's placement the center of the apse holding a book with his left hand provides a direct relationship to the Bible. His right hand held up in blessing illustrates his divine power towards the people, who receive the sacrament on the altar below him. Christ is also surrounded by stars, wh...
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...
"National Roman Museum - Palazzo Massimo Alle Terme." Soprintendenza Speciale per I Beni Archeologici Di Roma. N.p., n.d. Web. 05 Mar. 2014.
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...
The architecture of cathedrals, basilicas and abbey churches is more than a structure at a particular address but actually serves as one transmitter of the Roman Catholic faith. The buildings are characterized by their large scale and follow several traditions, functions and styles that were all established in the Constantinian period. Within the Roman Catholic church, the concepts of place and time have significant roles in the construction and architecture of any catholic church. The buildings, the space, decoration and everything inside and outside a building has meaning; everything is intentionally set up. How and when things get done is determined by time which is composed by a set of calendars and specific hours.
Favro, Diane G.. The urban image of Augustan Rome. Cambridge: Cambridge University Press, 1996. (266)
Early in history, the Roman papacy consolidated its power. It became one of the most influential organizations in the medieval period. This rise to power resulted from the decline in the Western Empire, the leadership of Roman bishops, and special grants that gave the church land holdings. This rise to power caused some positive ramifications, such as the protection of the church from heresy. However, the absolute power of the pope also caused corruption and abuses, many of which would eventually spark the reformation.