Monday, December 12, 2016
Giulio Romano’s House, 1546, Italy
Giulio Romano was Italian painter and architect in Rome during 16th century. He was a student of Raphael and help define the 16th-century style known as Mannerism. Mannerism is a style of 16th-century Italian art preceding the Baroque, characterized by unusual effects of scale, lighting, and perspective, and the use of bright, often lurid colors. Giulio Romano’s house built in Mantua, Italy, in 1546. The house represents the Renaissance period, because of the use of brick. Having a rusticated stone work, the architrave, and the molding. It's not like the Palazzo Farnese in Rome because it has less details in the façade. But Giulio Romano put more of his focus on the high window area. Unlike the Palazzo Farnese the first floor is very dull and no depth to the detail. But because it was his home, it makes sense that the building only beautiful on the second floor. The historic building was destroyed in the capital 1661 to make way for Bernini's colonnade. Today the house is restored but only the west hall and the façade still stands.
Aachen Cathedral
When the Emperor Charlemagne built his representative “Pfalz”, the Palace, before 800, he started to make his dream of Aachen as a “new Rome” come true. The centrepiece of the Palace complex is its church, which was designed as an octagon according to the example of Byzan-tine palace churches. The height of its interior of more than 31 meters is a unique architectural achievement.
Until the High Romanic period nobody managed to exceed this bold construction. Construction of this palatine chapel, with its octagonal basilica and cupola, began c. 790–800 under the Emperor Charlemagne. Designed by architect Odo of Metz, he based the design on the Byzantine church of San Vitale in Ravenna, Italy which is why the chapel has an Eastern sense to it. The interior of the chapel is in an octagonal shape with striped arches and marble floors and the choir hall which is in gothic style. Inside the chapel are the treasures of the swaddling-clothes of the Infant Jesus, the loin-cloth worn by Christ on the Cross and the cloth on which lay the head of St. John the Baptist after his beheading [1] and the emperor’s shrine.
From the original Palatine Chapel you can find the the bronze doors that were cast around 800 AD and weigh about 4 tons at the west portal. Displayed in the entrance hall are two bronze sculptures: the she-wolf, dating from the 2nd century AD and brought to Aachen in Charlemagne's time; and a large pinecone dating from 1000 AD, which may have decorated a fountain. [2] Looking above into the vault of the octagon, the depiction of Christ is shown surrounded by the 24 ancients of the Apocalypse. The fine columns of the gallery are purely decorative, not bearing any weight of the arches. Charlemagne had 32 of them shipped from the ancient buildings of Rome and Ravenna. Most of them were looted in the French Revolution but 22 have since been returned and restored to their place in the gallery. [2]When the Emperor Charlemagne built his representative “Pfalz”, the Palace, before 800, he started to make his dream of Aachen as a “new Rome” come true. The centrepiece of the Palace complex is its church, which was designed as an octagon according to the example of Byzan-tine palace churches. The height of its interior of more than 31 meters is a unique architectural achievement. Until the High Romanic period nobody managed to exceed this bold construction.
Works Cited:
Ukhaidir
About 100 miles south-west of Baghdad is Ukhaidar palace, one of the most preserved palaces of the Muslim world and was built between 774-775 by Isa Ibn Musa. The palace consists of two fortified enclosures in a manner that had been common to Romans but had been used for the first time in Islam. Another defense approach seen in
Ukhaidir was the use of the arrow and the creation of slits in the walls for attack without exposing themselves to harm.
Ukhaidir was built with tons of program like a mosque, the audience halls and a court of honor where the first of many inventions were seen such as the elliptical or pointed barrel vaults with the use of brick rather than stones and wood which made the construction of such vaults much easier. The construction of the ribbed vaults can be seen in the palaces mosque. The vaults are supported by the use of flattened arches which then gave rise to the gothic architecture throughout movement.
The palace complex consists of series of functional units; the great hall, a mosque, a court of honour, audience halls and four domestic compounds called Bayts. Continuing from the domed square room there is the great hall. It is a large pointed barrel-vaulted hall of 7 meters width, 15.5 meters length and 10.5 meters height, with arched recesses to the left and right leading to side chambers which were probably store rooms.
West of the great hall and to the right of the main entrance, there is the palace mosque, a hall consisting of a single aisle of five arches raised on cylindrical piers made of limestone and mortar. Above the arcade was a single barrel vault which had a corrugated surface, and along the ridge were coffers of diverse shape. The ends of the vaults were fused to the side walls by means of fluted half-domes with squinches of the same form inserted at the transitions. The architects and masons of Ukhaidir introduced, for the first time, an elaborate technique based on the construction of elliptical (pointed) barrel vaults with bricks in similar technique to building a wall which therefore made the way vaults were built considerably easier. [1] The palace maintains it’s high vaulted ceilings that expose the interior spaces to sunlight through windows near the domed areas. The exterior facades of the bayts are beautifully arched and the ceilings inside the vault are beautifully designed.
Many things have been taken from the ukhaidir palace and can be seen through the Islamic architecture and have spread and influenced through out many other cultures and thankfully have impacted change in our architecture.
Works Cited:
http://www.muslimheritage.com/article/ukhaidir-palace-720-800-ce - plans and pictures
Saturday, December 10, 2016
Façade of S. Marcello
This building was dedicated as a memorial in remembrance of San Marcello. During the reign of Emperor Maxentius, Pope Marcello was captured and detained. Kirk (December 01, 2006) tells us that he was later freed by the Christians and taken in by one of them called Lucina. He was eventually arrested again and made to work as a stable in harsh conditions. He later died and was buried in the Catacombs of Saint Priscilla. After the reign of the emperor, a church was built over Lucina's house. The pope's remains were then exhumed and transferred to the church. It was designed by Carlo Fontana. The church was built between in 1682-1686. It was later consecrated in 1952. It was traditional believed that the church was built over the confinement of Pope Marcello. Beneath the main altar, there are some relics of several saints including Pope Marcello. Similarly, there is a Crucifixion by Giovanni Batista Ricci (Kirk, December 01; 2006). The execution is located behind the façade. The crucifix miraculously escaped the fire that had burnt down the prior version of the church. The building was later evaluated and decided to be finished 1952.
Two stories can be noticed from afar. The entrance door-case of the first story is molded. A floating cornice was placed just above it. On top of it, there is a magnificent sculpture of a saint by the name of St. Philip Benizi. The portrait depicts the saint refusing to accept a tiara handed to him by Antonio Raggi. It was perceived that Philip did not consider himself worthy of being the Vicar of Christ. The story's sides have a pair of statues of both St. Philip and Pope St. Marcello.
The other story, however, is built on an attic. Its outer corners that correspond to the design is chamfered; the chamfers apparently is a pair of columns are placed under the chamfers. The main entrance of the second story has four rectangular columns that are facing a large window that is rectangular in shape.
The second story has statues that are embodied in it; the statues are those of Blessed Gioacchino, and Blessed Francisco are sculptured on the outer corners of the attic. On the entrance, there are pictures used to represent Faith and Hope to its faithful's. The allegories seem to appear cheerful and at peace.
The church is known for having five chapels structured in the same building. The first chapel is located on the right-hand side. The chapel belongs to Marchese Maccarani and it is seen to hold the Annunciation by Lazzaro Baldi. The second chapel, however, is the work of Francesco Ferrari. It portrays the martyrdom of Sst. Digna and Emerita of Pietro. The third chapel there is a portrait of Giovanni Batista. (Kirk, December 01; 2006)
Reference .
Kirk, T. (December 01, 2006). Framing St. Peter's: Urban Planning in Fascist Rome. The Art Bulletin, 88, 4, 756-776.
Portinari Chapel at St.Eustorgio
This is a chapel located at the eastern end of the Basilica of Sant'Eustorgio. It is located in the Northern Italy. According to the history, the chapel was originally meant to act as both mortuary to house the remains of Saint Peter of Veronica and at the same time to serve as a family chapel.
On top of the chapel's altar is a donor portrait. The portrait shows a figure of Pigello Portinari in what seems like he is kneeling in prayers before the figure of Peter Verona. The history has it that indeed Peter appeared to Pigello when he was in the middle of praying and instructed him to construct a chapel. In the chapel, he was to preserve his remains in that particular chapel.
The chapel is made up of the cubic roof. Its roofing appears to project square apse. The lower section of the apse seems to be surrounded by a structure that is octagonal in shape. The insides of the chapel are outlined by the orders and instructions of the architecture, moldings and a ribbed dome that appears to have all the structure retrieved from gray stone that contradicts with the traditional flat plasters.
The features of the chapel are richly ornamented with formal motifs. Several surfaces in the chapel are painted in fresco. The outlines of the walls depict scenes from the life of St. Peter of Verona. On top of the arch, there is an Annunciation. The dome showcases the entrance to the apse. There is also an Assumption of the Virgin that faces the arch.
Several paintings of unknown Lombard artists are also located in the chapel. Some of the paintings include the portrait of the martyrdom of St Peter and some frescoes like the great Miracolo dellanuvola e miracolo dellafalsa. The head of St. Peter rests in the marble shrine that acts as the chapel's focal point.
The chapel entrance showcases a huge room filled with hundreds of remains of the saints. The relics are stored and preserved in glass cabinets. It also has a very remarkable paleochristian cemetery. There seems to be an astonishing image of Virgin Mary and Jesus' with devil horns. According Furnari "Portinari Chapel or Chapel of St. Peter Martyr" (January 01, 1995); to the story behind those grotesque images showed that those were not the real Mary and his son Jesus but a pretense of the devil.
The chapel was built in a Renaissance style of architecture. There is a section in the channel that describes a story of a young man who had kicked his own mother and then cut off his leg in remorse and regret. The portrait shows St Peter miraculously healing the boy whose name was Narni. The ark of St Peter was known to be carved by a man known as Giovanni diBalduccio. (FURNARI, January 01, 1995)
Reference
FURNARI, M. (January 01, 1995). Portinari Chapel or chapel of St. Peter Martyr. 16.
Fulda Cathedral
Fulda Cathedral
Fulda Cathedral is the former abbey church of Fulda Abbey and the burial place of Saint Boniface. The abbey was dissolved in 1802 but the diocese and its cathedral have continued. The Baroque district of Fulda, and is the symbol of the area. Great German Baroque Architect Johann Dientzenhofer drew plans of the new church in 1700, who was commissioned by the Prince-Abbot.
Like the Ratgar Basilica before it, Fulda Cathedral is oriented to the west. The main facade onto the cathedral square is the east front, and the choir is located at the west end of the nave. The cathedral is 325 feet long 128 feet high into the top of the dome. The main frontage is flanked by two towers 214 feet high.
Four massive three-quarter columns accompanied by half pilasters stand to either side of the main portal and support the architrave, the frieze with its triglyphs and heavy cornices. On the architrave over segment of a round arch sit two large angels, supporting the arms of the Prince-Abbot Adalbert von Schleifras.
S. Maria at Vicoforte
This is one of the most magnificent domes in the world; it is rated fifth in the world due to its size. The other masterpieces rated before it are the St Petersburg which is number one, it is situated in Vatican, the second is Pantheon found in Rome, the third is the Cathedral of Santa Maria del Fiore located in Florence, the fourth is the Indian Gol Gumbaz, and the fifth is our topic building.
Its historical background is dated 15th century, it stated as a violated shrine which stood in woods, but currently, it is lost at the foot of Viconforte hills. The first stone was laid in the year 1596. The original structural design was proposed by Ascanio Vitozzi. The architecture was from Orvieto which was active at the Court of Savoy. Moreover, the construction was started again and completed by Francesco Gallo who was from Mandovi. He ensured that the building stood as a landmark which was symbolized by an impressive elliptical dome which was finalized in the year 1733. It has a lantern above it which illuminates light into the spiritual house. The house was primarily built for religious purposes and as a sanctuary for the main pilgrim destination. A good historical point according to Rivoira (1972) is where Charles Emmanuel of Sovery made a decision to have the building act as a tomb in the 16th century for the royal family i.e. the Dukes were allowed to be buried in the Sanctuary of Vicoforte. After Duke Charles had died in the year 1630, the building was faced with political and financial hardships which led to it being halted for over 100 years. Soon Mondovi restarted it and completed the structural flaws; build the drum and also the magnificent elliptical dome which stands at the top of the house. In the 19th century, the façade and bells were erected as such that the bells were in a bell-tower. The bells were later on demolished to due to safety precautions in the year 1906 (Rivoira, 1972). The same year also saw some changed in the cover of the dome which was replaced with the current copper cladding.
The decoration is also brilliant and has a great historical background, which is the same as the architectural and structural designs. The sanctity is very spacious and has a surface area of 6,000 square meters; it has a single-theme fresco of decoration. Religious picture surrounds the sanctuary such that the life of Virgin Mary is depicted in it as well as her Glorious Assumptions. The interior of the doom is perfectly smooth and is continuous with decorations which are painted; hence creating a perception of an increased area and also an imagination of architectural decorations which is centered on the figurative portion of the Fresco.
The path that currently allows visitors to access the building basement is very adventurous; there is a 75m climb which gives the viewer spectacular aerial ways, the chambers, the winding staircase which is restricted to the workforce and not the public. For the purpose of maintenance, a 250-meter fall restraint system, and support devices were erected in the sanctuary for the purpose of safety. The building has an estimate of 20000 tourists. It has employed 35 permanent employees. Besides being a religious building, it is a good tourism destination for many people around the world (Rivoira, 1972).
Work cited
Rivoira, G T. Roman Architecture and Its Principles of Construction Under the Empire: With an Appendix on the Evolution of the Dome Up to the Xviith Century. New York: Hacker Arts Books, 1972. Print.
Subscribe to:
Posts (Atom)