Research Paper On St. Peter's Basilica

the man responsible, built not one but two domes, “one nested inside the other.” During his

The shift brought the transformation of thick columns to much thinner and “lighter” columns (Blankenbehler). However, before this architectural movement can begin, Abbot Suger struggled to reconstruct and synthesize the style of the ancient building with his ideas of modern designs. He knew that the freshness of these new designs would bring beauty and spaciousness. He wanted people to be amazed at the transformation of the once small, but soon to be large and wide feel of the basilica. To create the wide feel, Abbot Suger issued the ceiling to have a complicated web of interlocked and pointed vaults. He also chose to have arches with points so that the basilica would not need thick walls to support the arch. Thick walls would make the interior look crowded and small, something Suger did not want. By having the pointed arches, those would take the weight of the ceiling and distribute the weight across rather than being pulled down. This allowed for thin and elegant looking columns, for they were able to support the ceiling because the weight of it was dispersed. He envisioned the structure to have high ceilings, which would be supported with thinner columns (Birth of the Gothic: Abbot Suger and the Ambulatory at St. Denis). Suger also brought in the idea of having tall towers so that the building would look like it was reaching for the heavens. By reaching the heavens, it brought this concept of being closer to God and reassuring the people’s

The structure, approved and paid for by the city council, was a feat of amazing architecture on the part of Fillippo Brunelleschi. This was the largest dome created in that time and it was Brunelleschi’s ingenious design that won the commission against Ghiberti and other artists. The Church’s possession of grand cathedrals like this one served to demonstrate to the people the greatness of the faith and the power of God. There was a religious aspect to the construction of the immense cathedrals and basilicas; the people were paying homage to their god and constructing churches they felt were worthy for him. However, it was also somewhat political, as the grandeur of the churches was displayed to all the people in the city. No one could question the Catholic church’s might and colossal influence after viewing a cathedral such as the

The first thing that one’s eyes lay on is the amazing trade mark of marble stone from the architect Rafael Guastavino. The façade out of this building shows Spanish Renaissance architecture at its very best. The brick work could not be copied and is no longer done in this day and age. This herringbone pattern is also the trademark that Guastavino uses in all the buildings that he created (Carrasco, Mercè Piqueras). On the top of the church stands the churches Saint; Saint Lawrence. He holds a gridiron; which is the method by which he was martyred (saintlawrencebasilica.org). Saint Lawrence is flanked by Saint Steven, the very first martyr, who holds a stone; which was the method of his martyrdom. On the opposite side, Guastavino’s favorite saint, stands Aloysius Gonzaga. He was a young seminarian at the time of the plague that died assisting other people (Swain, Elisabeth). The inside of this building contains no structure, but yet in the last one hundred years there was never one tile that was lost. Inside the church one can’t help but notice the many banners hanging around the perimeter. The banners on the eastside of the building are the coated coats of arms of all the popes who have reined since

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Nestled among the modern skyscrapers of Midtown Manhattan, you could be forgiven for mistaking the striking Gothic architecture of St. Patrick’s Cathedral as a medieval artifact in the heart of New York City. Though not quite that old, the storied cathedral is renowned for its beautiful Neo-Gothic design and rich history. Not too many people, however, realize the true story behind one of New York City’s most iconic and celebrated landmarks. Here’s a quick look at the hidden history of the famed St. Patrick’s Cathedral.

Brunelleschi’s Dome is the story of Fillipo Brunelleschi - or Pippo, as he was often known - and the ingenious methods he employed in raising the famous duomo over Santa Maria del Fiore. On August 19th in the summer of 1418, all the citizens of Florence, Italy were called upon to devise a solution for what was to be one of the greatest conundrums of the Renaissance - the vaulting of the cupola over the city’s new church. Santa Maria del Fiore, built upon the ruins of Santa Reparata, was to be the grandest and most lauded accomplishment in renaissance architecture. The vaulting of the dome was truly a daunting endeavor for any that toed up to the challenge. When Neri di Fiorivanti, the original Capo Maestri - or head architect for the project -

Fig, 17-2 Santa Constanza, Rome reflects the characteristic of the period because just before it was built Constantine legalized Christianity in the Edict of Milan and Christian art became imperial art. So this architecture was important for the future of Christian religion. It was built for the tomb of Constantine's daughter. The church itself symbolizes the spread of Christianity in the Roman world and the ambulatory and the dome supported by a barrel vault are all the characteristic of the churches that were built during that

Lastly, I would like to talked about the one of most beautiful painting named Interior view of the Church of Saint Peter’s in the Vatican by Francesco Panini in 1770’s. Before even, let’s talked about the history of the church. Saint Peter’s Basilica is one of the famous Catholic church and one of the most holiest site. It was built according to tradition above the burial site of the St. Peter. According to the cite, “  twelve disciples of Jesus and the first Bishop of Rome, who was martyred in the year 64 CE”. So to maintain that tradition , whenever the Pope dies, they buried them in the basilica. As shown

The cathedral Basilica of Saint Louis typically known as the St.louis cathedral Roman Catholic Church is located in the Central West End area of St. Louis, Missouri. The cathedral was built as a replacement of the older cathedral located along the mississippi which they started construction on May 1st ,1907 and ended construction on October 18, 1914. The Cathedral is the mother church of Archdiocese of St. Louis and the seat of its archbishop, currently Robert James Carlson. The church was awarded basilica by Pope John Paul II in 1997. Although the church was built it was not officially Consecration until a decade later on JUne 29,1924. The church is most famous for its large and beautiful mosaic installations

Though at first they scoffed at Filippo Brunelleschi for his ingenious design of a double dome, they eventually acknowledged his genius and hired him to be co-superintendent over his design with his arch rival. This provided many difficulties and “skullduggery” which Brunelleschi was

Peter’s Basilica are architecturally different, yet they both unite those people who put their faith in the Catholic Church and into the hands of God by using these structures as propaganda. St. Peter’s Basilica is an excellent representation of Baroque and Renaissance style art and architecture due to the time period that construction began for this magnificent building. Gaudi’s La Sagrada Familia is unique even for other basilicas and cathedrals built in the Gothic style. He brings together new ways of architecture and construction that make La Sagrada Familia such an interesting and outstanding structure years before its completion. However, despite the differences in appearance between St. Peter’s Basilica and La Sagrada Familia, they both share similarities that tell the story of Catholicism and bring visitors from different backgrounds and religions to one meeting

Saint Peter was born in Bethsaida Gaulanitis, Syria Roman Empire at around 1 AD. Peter’s feast day is on the twenty ninth of June. Bethsaida Gaulanitis was near where the Jordan River enters the Sea of Gennesaret. This place was abandoned at around 65 AD. Peter’s original name appointed to him by his parents was Simon, it became Peter when Jesus changed his name. His father’s name was Jonah. Jonah was a physically strong individual, hence he became a fisherman. Peter deeply followed in his father’s footsteps. His mother’s name was Perpetua. Not much is known about her. Peter also had a brother named, Andrew. Andrew was another one of Jesus’s twelve disciples. Peter did not go to school, he was just taught by his father in the trade of fishing

St. Peter Claver was a humble looking church, without the towering spires or detailed architecture that some churches possess in order to fill you with worshipful awe. In fact, it would have been almost unrecognizable as a church if it were not for the relatively small silver cross that hung above the door, not even raised above the line of the roof. Walking into the church did not change the sense of humility that the outside professed. Dark wood lined the walls and floor, and made up the pews. It felt almost like stepping into a cabin that had been built in the 1970’s. Along the walls there were small portrait sized depictions of the fourteen stations of the cross. Unlike St. Agnes’s eye catching and baroque decorations, St. Peter Claver’s artwork almost blended into the background, and was not immediately visible. It appeared that the artwork mirrored the nature of the building itself, almost as if the church wanted to dispense with frivolity and maintain its focus on the practice of its faith.

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.