Apse

inside the church you will enter the nave. The nave is 459 feet long by 157 feet wide. Inside the nave is the domes and pendentives that are full of art. There is a total of five domes, with the tallest of those being 329 feet tall. Inside these domes are the following mosaics: Knights of Columbus Incarnation, Redemption, Trinity (main), Pentecost, and another unnamed one. Past the nave is the transept. It is 240 feet across. On the roof of the west transept is a mosaic of Jesus, Mary, and the saints. And on the roof of the east transept is a mosaic of Creation, with God’s outstretched hand forming Adam and Eve. Past the nave is the apse. On the interior of the semi dome above the altar is Christ in Majesty. This is one mosaic was done by John de Rosen and he used over 4000 colors shades to complete this masterpiece. Another masterpiece in the apse is the Botticino baldachin which stands 46 feet tall. Atop this baldachin is a 7-foot statue of…

resembles the color of the brick for a seamless transition between the two. There is a running course of black bricks that bisect the aisle windows around the façades of the building. On the west façade of the Memorial Antechapel is a stone string course compiled of the same limestone used for the foundation. The string course is downward and is approximately a foot in length. The string course continues along the side of the building towards the north façade of the Nave where it lowers below…

of a square with single apses in the middle of the north, south, and west sides, and three apses located on the east side. Inside the Oratory, the floor plan took the shape and form of a Greek cross with a high central tower that filled the north south, east, and west bays; while the corner bays had lowered domes that were carried and supported by squinches. The floor plan style at the Oratory later went on to become the standard floor plan type for Byzantine Architecture across the globe…

and wings. This particular piece of art can be known as formalism because of its shapes in the art, also because of how its formed and its style. It is very visual and its elements like its texture line and shape tell a historical context of this piece. This piece is very big compared to other Byzantine ivory panels. This piece shows a combination of pagan and Christian traditions, its originally part of a diptych. This architecture recalls the apse of a church. The angels face and his hair in…

decided to build the Basilica of San Peter on the Vatican Hill in Italy Rome in an area that had been formerly a cemetery where according to the traditions Peter was crucified. The principal portion of the Basilica, the nave was very long. Two aisles ran along the side of the nave making it wider. In the west part of the Basilica, the nave rose in to a clerestory. Attached to the nave was a cross arm, such a resemblance of that of a cross became deeply symbolic for early Christians. Though…

although the origins of the connections to Ravenna are unknown, it is connected to the rivalry between Milan and Ravenna (Deliyannis 223). To commemorate such a regionally significant saint, San Vitale was the most up to date architectural designs from Constantinople. This was important to those building it because its impressive and unusual layout according to the design reflected the technological intelligence, prestige, and power of the ones creating it. Of all the other baptisteries and…

Comparing and Contrasting: The Basilica of Saint Sernin and Cathedral of Chartres Centuries have passed and to this day churches tower above France, marking the astonishing legacy of the Romanesque and Gothic styles designed in the Middle Ages. A Romanesque church example is the Basilica of St. Sernin in Toulouse, France 1080-1120 (fig.1) and an example of a Gothic church is the Cathedrale de Notre Dame de Chartres in Chartres, France 1194-1260 (fig.2). Much like their periods, the Basilica of…

The image title is called Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca. 547. What strikes me, as the view, as more important, is not where the image is located but how the image is depicted. I try to image that I am Justinian himself, directing the creation of this piece and what I come to find is something very obvious. It is very obvious to me that Justinian wanted to make sure that anyone looking at that image could tell…

churches to resemble temples, because those were the places of worship of pagan gods. They did need a place that could hold many people, and would not be too expensive to build. The location they chose for the church was on the old grounds of the Circus of Nero, where St. Peter was supposedly martyred. The building style they chose to base St. Peter’s off of was a basilica, just like the Basilica Ulpia in Trajan’s Forum. Like the Basilica Ulpia, St. Peter’s had a flat wooden ceiling, a row of…

The building, which served as a church, has a centrally based plan (Fazio 143). The interior of the building contains an octagonal central space, surrounded entirely by an octagonal ambulatory. The ambulatory is offset from the central space by fourteen columns and eight thick piers, with arches spanning between each of the structures. Above the ambulatory, there resides a gallery on seven sides of the octagon, leaving the eighth side open to accommodate for a tall, domed apse. Below the apse,…