The architecture of the cathedral, basilica, and monastic church is marked by large-scale buildings and follows one of several traditions of form, function and branched style which all originate from early Christian architectural traditions established in the Constantine Period.
The cathedral, as well as many monastic churches and basilicas, have certain complex structural forms that are rarely found in parish churches. They also tend to display higher contemporary architectural styles and skilled artisans' work, and occupy ecclesiastical and social status not shared by ordinary parish churches. Such cathedrals or large churches are generally one of the finest buildings in the region and a focus of local pride. Many cathedrals and basilicas, and a number of monastic churches are among the most famous architectural works in the world. These include St. Peter's Basilica, Notre Dame de Paris, Cologne Cathedral, Salisbury Cathedral, Prague Cathedral, Lincoln Cathedral, St. Denis Basilica, Santa Maria Maggiore Basilica, Basilica of San Vitale, St. Mark's Basilica, Westminster Abbey, Saint Basil's Cathedral, GaudÃÆ''s incomplete Sagrada Familia and the ancient church of Hagia Sophia, now a museum.
The oldest big churches are from the Final Antiquity. When Christianity and the construction of churches and cathedrals are scattered all over the world, the way they build depends on local materials and local techniques. Different architectural styles were developed and their fashion spread, brought about by the formation of monastic orders, by posting bishops from one area to another and by traveling from the main masons who served as architects. The styles of large church buildings are successively known as the Early Christian, Byzantine, Romantic, Gothic, Renaissance, Baroque, Resurrection styles in the late 18th century to early 20th century and Modern. Coated on every academic style is a regional characteristic. Some of these characteristics are very peculiar to the particular country or territory they emit, regardless of style, in centuries-designed church architecture.
Video Architecture of cathedrals and great churches
Function
Among the largest and most important churches in the world, many buildings were built to serve as cathedrals or monasteries. Among the Roman Catholic churches, many are elevated to "basilica" status. The categories below are not exclusive. A church can be a monastery, functioning as a cathedral, and also a basilica. Among the large Protestant churches, some, such as Ulm Minster, never serve as one of these. Others, such as Westminster Abbey, are former monasteries and cathedrals. There is no Orthodox or Protestant church designated as a "basilica" in the Catholic sense. The term "cathedral" in Orthodoxy and Protestantism is sometimes applied loosely to a large church that is not the main church of the bishop. Some significant churches are called "temples" or "oratories".
Cathedral
Among these types of buildings the cathedral is perhaps the most famous, as far as the word "cathedral" is sometimes mistakenly applied as a general term for a very large and impressive church. In fact, the cathedral does not have to be big or impressive, although many cathedrals. The cathedral takes its name from the word
The role of the bishop as a local pastor's administrator emerged in the 1st century. That was two hundred years before the first cathedral building was built in Rome. By the legalization of Christianity in 313 by Emperor Constantine I, the church was built quickly. Five very large churches were founded in Rome and, although much changed or rebuilt, still exist today, including the Roman Cathedral which is San Giovanni di Laterano and also the more famous St. Peter's Basilica in the Vatican.
The architectural form taken by the cathedral relies heavily on their ritual functions as the seat of a bishop. The cathedral is a place where, along with other Christian churches, the Eucharist is celebrated, the Bible is read, the Order of the Service is said or sung, offered prayers and preaching preached. But in a cathedral, in general, these things are done with a greater number of elaborations, processions and processions than in the lower churches. This elaboration is especially present during important liturgical ceremonies performed by a bishop, such as Confirmation and Ordination. Cathedral is often a place of ritual associated with local or national government, the bishops perform the duties of various kinds of induction of a mayor to the crowning of a king. Some of these tasks are evident in the form and completeness of a particular cathedral.
Churches that have cathedral functions are not always large buildings. Probably as small as the Christ Church Cathedral, Oxford. But often, the cathedral, along with some monastic churches, is the largest building in any region.
There are a number of reasons for this:
- The cathedral was created for the glory of God. It looks right that it should be as big and as beautiful as the wealth and skills can make it.
- As the seat of a Bishop, the Cathedral is the location for certain liturgical ceremonies, such as the Ordination of Priests, which unites a large number of priests and people.
- It serves as an ecclesial and social meeting place for many people, not only in the city where he stands, but also, on occasion, for the whole region.
- The cathedral often has its origins in a monastic foundation and is a place of worship for members of the sacred order who say a personal mass in small chapels within the cathedral.
- The cathedral is often a place of worship and funerals for wealthy local customers. These customers often provide the cathedral with money for successive enlargements and building programs.
- The cathedral is also traditionally a place of pilgrimage, where people travel from afar to celebrate certain important feast days or visit holy sites associated with certain saints. The vast eastern end is often found in the cathedrals where the remains of saints are buried behind the High Altar.
- Cathedral
Basilica
The term basilica, when applied to the church, can be used in two ways. In architectural language, it denotes a building resembling the structure of the basilica of Ancient Rome, which is a longitudinal plan rather than a center, has a nave center with a hallway on either side separated by a colonnade, and an apse at one end.
In an ecclesiastical sense, a basilica is a church that has been established in such a way by the pope, and has received certain privileges. A building designated as a basilica may be a cathedral, monastery, temple or parish church. The four so-called "Major Basilicas" are the four Roman churches of the 4th century foundation, St. Peter's Basilica, St. John Lateran Basilica, the Basilica of Santa Maria Maggiore and the Basilica of Saint Paul Outside the Wall. There are more than 1,500 churches in the world designated as "Minor Basilicas". The reason for such a title is often that the church is a pilgrimage site and contains the relics of a saint, or object of religious worship, like a fragment of the True Cross. These churches are often large and of considerable architectural significance. They include St. Francis Basilica, Assisi; Church of the Nativity, Bethlehem; Basilica of Our Lady of FÃÆ'¡tima, Portugal; Our Lady of Sheshan Basilica, Shanghai, Basilica of Immaculate Conception in Manila, and Basilica of Our Lady of Guadalupe in Mexico City.
- Basilicas
Abbey
An abbey convent is a church that, or formerly, a monastic order church. Likewise the friari church is the church of the monks' order. These commands include Benedictine, Cistercians, Augustinian, Franciscans, Dominicans, Jesuits and more. Many of the basic monastic churches, or formerly, are part of a monastic complex that includes dormitories, refectories, porches, libraries, chapel houses and other such buildings.
In many parts of the world, churches often serve local communities as well as monastic communities. In areas such as Britain where the monastic community is dissolved, the monastic churches, located in the city, continue to serve as parish churches. In many parts of Asia and South America, the monastery is the earliest established church, with a monastic community that originally acted as a missionary to the local community. Notable church conventions include Santa Maria della Grazie in Milan, Italy; Westminster Abbey and Beverley Minster in England, Abbaye aux Hommes and Abbey of St Denis in France, Melk Abbey in Austria, Great Lavra at Mt Athos in Greece and the Malate Church in Manila, Philippines.
- Monastery
Maps Architecture of cathedrals and great churches
Origins and church building development
The church building has grown from a number of features of the Old Roman period:
- Church house
- Atrium
- Basilica
- Bema
- Tombs - centrally planned buildings
- Cross-platform plan - Latin or Greek cross
From house church to church
From the beginning to the beginning of the fourth century, most Christian communities are revered in private homes, often in secret. Some Roman churches, such as the Basilica of San Clemente in Rome, were built directly over the houses where early Christians were worshiped. Other ancient Roman churches were built on Christian martyrdom sites or at the entrance to the catacombs where Christians are buried. The first great Christian churches were built in Rome and dated from the early 4th century, when Emperor Constantine first legalized Christianity. Some of the largest churches in Rome, especially Santa Maria Maggiore and San Giovanni in Laterano, have a foundation in the 4th century. This is San Giovanni (St. John's) and not St. Basilica. The more famous Peter is the church of the Roman cathedral. St. Peter is also the foundation of the 4th century, though nothing appears on the ground.
Atrium
When Early Christian Communities began to build their church, they drew a special feature of the houses that preceded them, the atrium, or the courtyard with the surrounding columns. Most of these atriums have disappeared. A great example remains at the Basilica of San Clemente in Rome and the other built in the Roman period at Sant'Ambrogio, Milan. The offspring of this atria can be seen in the large square cloisters that can be found beside many cathedrals, and in large boxes or piazze at St. Peter's Basilica in Rome and St. Mark in Venice and Camposanto (Holy Field) in Pisa Cathedral.
Basilica
The architecture of the early church did not withdraw its form from Roman temples, because the latter had no great internal space in which the worshiping congregation could meet. It is a Roman basilica, used for meetings, markets and courts of law that provide a model for the great Christian church and who gives its name to the Christian basilica. Both Roman basilicas and Roman bath houses essentially have large domed buildings with high roofs, supported on either side by a series of downstairs or wide arcade aisles. One important feature of the Roman basilica is that at both ends there is a projected eksedra, or apse, a semi-circular half-roofed space. This is where the judges sit for a trial. This went into the architecture of the Roman world church and was adapted in different ways as a cathedral architectural feature.
The earliest major churches, such as the Cathedral of San Giovanni di Laterano in Rome, consist of a basilica that ends with one apsidal end and a yard, or atrium, at the other end. As Christian liturgy develops, the procession becomes part of the process. The process door is the one leading from the far end of the building, while the most widely used door by the public may be located at the center of one side of the building, as in the legal basilica. This is the case in many cathedrals and churches.
Bema
As the number of pastors increases, a small apse containing an altar, or a table where the sacrament and wine buns are offered in Holy Communion ceremonies, is not enough to accommodate them. A raised podium called bema is part of many large basilican churches. In the case of St. Peter's Basilica and San Paolo fuori le Mura (St. Paul outside the Wall) in Rome, the bema is extended laterally outside the main assembly hall, forming two arms so that the building takes the form of T by projecting apse. From this beginning, the church plan evolved into what is called the Latin Cross which is the form of most Western cathedrals and the great churches. The cross arm is called a transept.
Mausoleum
One influence on church architecture is the mausoleum. The tomb of the Roman nobility is a square or round structure that holds a sarcophagus. Constantine the Great was built for his daughter Constantina a mausoleum that had a circular central space surrounded by a lower ambulatory or a hallway separated by a colonnade.
The cemetery is a place of worship, Santa Costanza, as well as the tomb. This is one of the earliest more centrally located church buildings, rather than longitudinally planned. Constantine was also responsible for the building of the Holy Sepulcher Church in Jerusalem which resembled a tomb, which in turn affected the plans of several buildings, including those built in Rome to accommodate the remains of Saint Stephen's proto-martyrs. , San Stefano Rotondo and Basilica of San Vitale in Ravenna.
Ancient round or polygonal churches are relatively rare. A small number, like the Temple Church, London was built during the Crusade as a replica of the Church of the Holy Sepulcher as separate examples in England, France and Spain. In Denmark, such churches in Romanesque style are much more numerous. In some parts of Eastern Europe there are also churches like minarets in the Romanesque period but generally they are vernacular and small-scale architecture. Others, such as St Martin's Rotunda in Vishegrad, in the Czech Republic, are very detailed.
A circular or polygonal shape lends itself to buildings in a church complex that perform functions where it is desirable for people to stand, or to sit around, with focused focus, rather than axial ones. In Italy a round or polygonal form was used during the medieval period for baptism, while in England it was adapted for chapel houses. In France, a patterned polygonal plan is adapted as an eastern terminal and in Spain the same form is often used as a chapel.
In addition to Santa Costanza and San Stefano, there is an important Roman shrine in Roman circle, the vast Ancient Pantheon of Rome, with its niches filled with sculptures. It also is to become a Christian church and lend a style for the development of Cathedral architecture.
- Circular churches
- Latin/Cross Latin and Greek Cross
- The three ancient cathedrals dominate the cityscape that preserves the medieval scale
- Early Christian and Byzantine - A semi-circular aplet projecting.
- Romanesque - A rounded tip. This may be a lower apse projection of the higher end of the square, usually in Italy, Germany, and Eastern Europe. In France and England, the pulpit ends at the eastern tip of a semicircular shape, surrounded by ambulances. Although common in France, in the United Kingdom this form is only preserved without significant changes at Norwich Cathedral.
- French, Spanish, German and Gothic Eastern Europe - Long eastern ends and elongated into high vaulted apsidal ends. The eastern alleys continued around this apse, making the bottom or ambulatory. There may be a bunch of projecting, emitting a chapel called chevet.
- English Gothic - The eastern end shows a huge diversity. Canterbury Cathedral has an apsidal tip with an outpatient chapel and projecting. No British Cathedral before the 19th century had a fully developed chevet. In some, notably Lincoln Cathedral, the eastern end presents a square shape, like a temporary cliff in most of this severity broken by the projected Lady Chapel. There are also examples of the lower alleys that continue around the eastern end of the square.
- Four forms of the eastern end
- Three forms of nave and aisles
- Early Christian churches in Rome
- The interior of the early Christian church
- Byzantine Building spanning six centuries
- Romantic interior
- Three Gothic interiors
- Renaissance churches in Italy
- Baroque Europe
- Baroque interior
- East Baroque Orthodox Church
- Rococo Churches
- International Baroque and Rococo
- The revival of 19th and 20th century classical styles
- 20th century Modernism
- Post Modern Church
- Medieval English cathedral architecture
- Christianity
- List of cathedral
- The Bible of the Poor
- List of regional characteristics of European cathedral architecture
- Early Christian art and architecture
- Byzantine Architecture
- Eastern Orthodox church architecture
- Romantic architecture
- Gothic Architecture
- Renaissance Architecture
- Baroque architecture
- Victorian-style architecture
- Architectural development of the eastern end of the cathedral in England and France
- Cathedral Diagram
- Clerestory
- The rose window
- Triforium
- Vault
- Ablaq
- Gargoyle
- Grotesque
- Labor of the Month
- Stained glass
- English and Irish stained glass (1811-1918)
- The Jesse Tree
- St. Mark's Basilica - [1]
- Speyer Cathedral - [2]
- Pisa Cathedral and Leaning Tower of Pisa - [3]
Most of the cathedrals and the big churches have a cross ground plan. In Western European tradition churches, the plan is usually elongated, in a form called Latin Cross with the length of the nave crossed by a transept. Transept may be as powerful as the project at York Minster or not outside the alley like in Amiens Cathedral.
Many of the earliest Byzantine churches have elongated plans. In Hagia Sophia, Istanbul, there is a central dome, framed on one axis by two semi-high domes and on the other by a rectangular transeptive arm, the whole plan becomes square. This great church will affect the building of many later churches, even into the 21st century. A square plan in which the nave, chancel and transept sleeves have the same length to form the Greek cross, the intersection commonly passed by the dome became a common form in the Orthodox Church, with many churches throughout Eastern Europe and Russia built in this way.. Churches of the Greek Cross form often have a narthex or a front room that stretches across the front of the church. This type of plan is also to then play a role in the development of church architecture in Western Europe, especially in the Bramante plan for St. Peter's Basilica.
Architecture
A common architectural form for many cathedrals and large churches
Note - The list below is compiled from Banister Fletcher. Due to the diversity in the history of individual development, not all characteristics relate to each building.
Axis
As described above, the majority of cathedrals and large churches are crucified with churches that have a clear axis. The axis is generally east/west with an external emphasis on the western front, usually the main entrance, and an internal emphasis on the eastern end so that the congregation faces the direction of Christ's coming. Since it is also the direction of the rising sun, architectural features of the eastern tip often focus on improving interior lighting by the sun. Not every church or cathedral retains the strict east/west axis, but even on those who do not, the East End and West Front terms are used. Many churches in Rome, especially St. Peter's Basilica, facing the opposite direction.
Most of the cathedrals and large churches of Western European tradition have a wide central part with a lower aisle separated by an arcade on either side. Sometimes the hallway is as high as the nave, forming the church hall. Many cathedrals have two aisles on either side. Notre Dame de Paris has two aisles and chapels.
In the case of centrally planned churches, the main axis is between the main door and the altar.
Transept
Transept forms the arm of a church building. In the cathedral of the British monastic foundation there are often two transepts. The intersections where the nave and transept meet are called intersections and are often bypassed by small spire peaks called flÃÆ'¨che , domes or, especially in England, large towers with or without a spire.
Vertical pressures
Generally there is a prominent external feature that goes up. It may be a dome, a central tower, two towers or a west tower at both ends like in Speyer Cathedral. The tower can be completed with a peak or tower or small dome.
FaÃÆ'§ade
The faÃÆ'§ade or "western front" is the most carved part of the exterior with a procession door, often three in number, and often richly decorated with sculptures, marble or decorative stones. Façade often has large windows, sometimes a rose window or an impressive sculpture group as its main feature.
In Western European tradition, there are often paired towers framing the façade. These towers come from a tradition practiced in the Church of the Holy Sepulcher in Jerusalem. During Holy Week the faithful will cultivate along the Way of the Cross, leading to the Basilica, which in Early Christianity consisted of a vaulted temple above the grave site, and a "porch" which had stairs on both sides, supported by a small tower, and exit. These towers were adopted symbolically, especially in Roman architecture, as a corner tower. They thrive in Norman and Gothic architecture as large towers, reaching the height of their splendor at the Cologne Cathedral, where they were not completed until the late 19th century.
East end
The eastern end is part of the building that shows the greatest diversity of architectural forms. At the eastern end, internally, lies the sanctuary where the cathedral altar is located.
External decoration
The external decor of a large church or cathedral is often architectural and pictorial. Decorative architectural devices include columns, pilasters, arcading, cornices, moldings, finials and decorations. The shapes taken by these features are one of the clearest indications of the style and date of any particular building. The pictorial elements may include sculptures, paintings and mosaics.
Sculpture is the main decorative element pictured in most areas where the building is stone construction. In the great medieval churches in France, Spain, England, and most of Germany, the figurative statues were found adorning the faÃÆ'§ades and portals.
The brick church, like most of Italy, is often decorated with mosaics, inlays, insets of marble friezes and freestanding statues in the roofline. The mosaics are characteristic of Byzantine architecture and are the main form of jewelery of many Orthodox churches, both externally and internally.
The most common theme in decoration, whether external or internal, of any church, is the salvation of man by Jesus Christ. The decorative scheme often serves as the Bible of the Poor, warning the church congregation that, in biblical terms, the just reward for his sinful nature is death, and that only through Jesus pardon and redemption can be obtained. This scheme usually begins outside the church, in the west, with the depiction of Christ the Judge above the main threshold. In Roman and Gothic buildings, this is usually a group of statues, and may involve the whole event of the Last Judgment with the details of a soul weighed and rewarded, or dragged to Hell by the devil. In churches where decorations are painted and non-sculptures apply, The Last Judgment is often located on the inside of the western end, rather than the exterior.
Referensi bagian: Banister Fletcher, Wim Swaan, Larousse.
Fitur internal
The main part of the building, making the longer cross arms, where the congregation gathers, is called the nave. The term is derived from the Latin word for the ship. A cathedral is symbolically a ship carrying God's people through a storm of life. In addition, the high wooden roof of a large church is also built on the hull of the ship.
The center is supported on both sides by a lower alley, separated from the main hall by a row of pillars or columns. The halls facilitate the movement of people, even when the center is full of worshipers. They also strengthen the structure by supporting the inner wall that carries a high roof, which in many cases cathedrals and other large churches, made of stone. On the roof of the hall is a clerestory window that illuminates the middle.
In some large churches, especially late medieval churches, there are two aisles on either side of the nave. Other churches have a single corridor and chapel rows on either side. In some churches, especially in Germany, the alleys are almost as tall as the nave, forming "church hall". In this case, because there is no clerestory, the aisle window is often very high, to receive light into the nave.
Crossing and transept
The intersection is the point at a large church where the transept cuts off the center. This point is often marked externally by towers or domes and internally by the docks and arches required to bear the weight of such structures. The interior of the dome or tower may be one of the major architectural features of the interior of the church. In a centrally planned church like the Hagia Sophia, and typical of many Orthodox churches, the main interior space of the building is covered by domes.
Transept is a symbol of the Cross's arm, but also provides space for trial and for additional chapels. The transept chapels are often dedicated to certain saints, or certain aspects of Christ's life and ministry, such as Birth or Resurrection. In some British cathedrals there is often a second transcript containing the chapel, to facilitate the sayings of the Holy Office by the priest every day.
Chanel, chorus and presbytery
In a church where the body parts of the church transcend the transept, this extension is architecturally called a "pulpit", whose stricter definition includes only choruses and sanctuaries with high altars, but more generally. The definition covers the entire eastern arm outside the crosses. This architectural form is common in Norman and Gothic architecture. The choir, where it exists, usually contains a choir booth, and "sanctuary" and "cathedra" (bishop's throne). The architectural "choir" is sometimes called "quire" to distinguish it from the singers' choir. In this Middle Ages all the priests, or boys in the choir school were attached, and the pulpit (strictly defined) was the area occupied by the clergyman, with little disturbance. In the cathedrals, the canons and other priests sat in the choir, as did monks in monastic churches.
In British cathedrals with two transepts, there is another area outside the choir called Presbytery. It is here that priests or monks can make their personal devotions. Often there are many additional chapels located at the eastern end of the cathedral or monastery church. The chief among these is the Lady Chapel dedicated to the Virgin Mary.
Altar
The altar in the church is a table where the Blessed Sacrament is placed the bread and wine for consecration by a priest before being used in the Communion ritual. The main altar in a church is located in a space called "sanctuary" ("sacred place"). The word has been translated into modern English with a different meaning because a criminal who can gain access to this area without getting caught is therefore given the church sanctuary. Many churches have additional altars that are placed further ahead in the church, as well as the altar in the chapel. The altar of the Catholic church can be made of marble. In most of the altars of the Protestant and Anglican churches made of wood, the symbol of the Last Supper table rather than the sacrificial altar.
The sanctuary is often separated from the church body by fences and sails, and, in the case of the Orthodox Church and the Catholic Byzantine, by iconostasis which forms a complete visual as well as physical barrier. The sanctuary is usually the most decorated part of the church, creating a visual focus toward the altar. This can be done in several ways. There may be a chiseled or painted altar, a large carved screen called reredos, or a structure called ciborium that forms a canopy above the altar. In the English churches that have the east end of the square, huge stained glass windows often fill the wall behind the altar.
Choir and org
The term "choir" is used in three different ways in relation to the cathedral. As well as the use of architecture, it deals with choir "choristers", often men and boys, who sing in service. It is also a term used for the part of the church where the choir sits, and where the choir service takes place. In a cathedral or large church, there may be a fixed seat in this area, called the "choir kiosk" which also provides seats for the cathedral priests and some congregations. The choir kings are often carved and decorated very extravagantly. The bishop's or cathedra's throne is often in this space. The choir can be separated from the nave by a very decorated wooden or stone screen. Organ that provides music and a choir may be located on the screen, or perhaps in a gallery above the choir, or in a transept. Some churches have organ loft at the western end of the church.
Fonts, podiums and pulpits
Toward the western end nave stands a font, or a water basin where the Baptism ritual is performed. It is placed toward the door because Baptism signifies the entrance into the church community. Standing in front of the nave is a podium where Scripture is read. In many of these churches take the form of an eagle that supports the book on its outstretched wings and is a symbol of John the Evangelist.
The third significant provision of the nave is the pulpit or pulpit from which sermons are preached and the biblical passages are described. The pulpit may be of marble or wood, and may be a simple structure or represent a very intricate engraving sermon. Often decorated with winged figures of a man, a lion, a bull and a hawk, representing the writers of the Gospels, Matthew, Mark, Luke, and John.
Decorations
The internal decorative features of the cathedral or the large church may follow a carefully crafted scheme that may continue the theme that began in the west. There are many examples that provide evidence of this, and include the mosaic domes of Orthodox churches, stained glass windows of medieval churches and sculptures of Baroque churches. However, in many other cases, the integrated scheme has been lost with the twists and turns of the building's history.
Despite the loss and change of direction, the purpose of over-riding in the interior decoration of the church is to convey a message from the Gospel. To this end, many churches have, in their decorative schemes, elements of the Bible of the Poor, describing aspects of the Life of Christ and other related narrations, with the aim of educating the viewers. Among these representations are the Stations of the Cross and Crucifix traditionally suspended from the mouse deer, or placed on the rood screen at the entrance to the quire. Other figurative representatives include statues or images of saints and prophets, who are common subjects of panel painting on the iconostasis of the Orthodox Church.
The symbolism used in ancient churches is not always easy for modern people to read. Virtues and bad traits can be represented by small figures with certain attributes, or by animals deemed to embody certain qualities. A common example is pelicans who are thought to peck her breasts to feed their children in the blood, thus representing Christ's love for the Church.
The decorative scheme generally culminates in the altar, where there will be painted altars or sculptured reredos, or it will be framed by stained glass windows, or apsidal mosaics.
Architectural styles
Early Christian
The architectural period called Early or Paleo-Christian took place from the first Christian Church building in the early 4th century until the development of the Byzantine distinctive style that emerged during the reign of Justinian I in the 6th century, rather than with the abolition of the seat of the Roman Empire to Byzantium by Constantine on 330 CE. Some of the earliest Christian churches were built in Armenia where Christianity became the official religion in 301. The small, tareless Basilica of the Holy Cross in Aparan is traditionally dated to the 4th century.
The great early Christian churches generally took the form of a basilica with aurat. Among the larger early churches in Rome, the Basilica of Santa Maria Maggiore has retained much of its original internal arrangement, its vast proportion of basilies, the simple apsidal end, its large pillars supporting straight cornices rather than arches and some very early mosaics. Santa Sabina, also in Rome, exemplifies the simplicity of architectural decoration that marked many early Christian basilicas. Other important churches in this period were the two ancient Roman churches, The Basilica of Santa Costanza and San Stefano Rotondo. These churches were marked by their formal application of Roman architectural orders in their columns, with the Ionic capital supporting lintels at Santa Maria Maggiore, the capital of Corinth in Santa Sabina and Santa Costanza, and the third order at San Stefano. At Santa Costanza, the thick brick walls of the central drum are supported on elegant slender columns that are paired to provide extra strength, each pair supporting a small piece of cornice from which curvy arches.
A number of Roman churches have retained the early Christian mosaic. The people at Santa Costanza are similar to mosaics and the painted décor is found in public and domestic interiors, most of which are geometric or floral, but close examination reveals a lot of Christian symbolism in the choice of motives. One of the most widespread decorative schemes of the period to remain at least partially intact is that in Santa Maria Maggiore, where the proscenium of the apse is adorned with the stories of the Baby Jesus taken from the Gospel of Matthew.
Where the churches of the Early Christian foundations still existed, they were largely altered, deeply deteriorated and no longer feasible, or roofless ruins, a country that almost overtaken San Stefano, before a renovation in the 15th century. The 4th century church at the Nativity of Jesus in Bethlehem was rebuilt by Justinian I after the 6th century fire, but seems to have retained many of its original forms, including the great columns of the Romans. The Church of Constantine the Holy Sepulcher, on the other hand, was destroyed under the orders of the Fatimid Caliph Al-Hakim in 1009 so that what is at present is total reconstruction.
The basilica of Euphrasian in Pore?, Croatia, was founded in 360 on the home church site and retained part of the Roman sidewalk. Although renovated and decorated at the end of the 6th century, the church has retained the Early Christian features, including the atrium. Some early Christian churches existed in Syria and Armenia, mostly in ruins. It shows Roman architectural features rather than Byzantine, but has a distinct regional character from the people of Rome.
Byzantine
Ravenna, on the east coast of Italy, is home to some of the great basilic plan churches dating from the era of Justinian Emperor (6th century). San Apollinare Nuovo is in a plan similar to Santa Maria Maggiore, but details of the carvings are no longer in the classical Roman style. The capital is like a lacy stone pillow. Many mosaics are still intact.
In the same city stands the uniquely structured church of San Vitale, centrally planned, and vaulted, on the same date. Its internal space is 25 m. The central dome is surrounded by eight semi-apsidal domes like flower petals. There is a complex arrangement of arcade arched on several levels that gives a spatial effect only equaled by the Baroque church of Santa Maria della Salute built a thousand years later a few miles north of Venice. San Vitale will be imitated in the 9th century in a simplified form by Charlemagne in Aachen, Germany.
In Venice stands San Marco, one of the most famous Byzantine churches in the world, mainly dating from the 11th century and decorated for centuries but maintaining centrally planned Byzantine forms. This is called the Basilica of St. Mark, not because of its basisanal shape, but because it has been given that title. It has a Greek Cross plan, a large dome surrounded by four rather small ones. The ornaments, both inside and outside, are typical of the Byzantine period in the use of luxurious polychrome mosaics and marble veneers.
Romanesque
After the decline of the Roman Empire, the construction of large churches in Western Europe gradually gained momentum with the spread of organized monasticism under the rule of Saint Benedict and others. A large monastery in Cluny, only a few still exist, was built using a simple Roman style, sturdy columns, thick walls, small window openings and semicircular arches. Style spread with monasticism across Europe. The technique of building a tall dome on a brick wall was revived. Decorative decorative treatments that have elements drawn from the local Pre-Christian tradition and incorporate fierce zig-zag, spiral, and animal heads. Typical wall decor painted mural wall paintings. Romantic building techniques spread to England during the Norman conquest.
Representative of the period is Abbaye aux Hommes (Human Monastery) in Caen, France; Cathedral of Worms in Germany, Cathedral of Pisa with famous campanile, CefalÃÆ'¹ Cathedral, Modena Cathedral and Parma Cathedral in Italy, as well as Durham Cathedral and Peterborough Cathedral in England.
Gothic
By the middle of the 12th century many large cathedrals and abbey churches had been built and the engineering skills required to build high arches, stone holes, tall towers and the like, were well established. This style evolved into a less severe style, having larger windows, lighter dome, supported on stone ribs and above all, a pointed arch that is characteristic of the style now known as Gothic. With thinner walls, larger windows and high arched dome, different flying supports were developed as supporting facilities. The large windows were decorated with stone ornaments and filled with stained glass depicting the stories of the Bible and the lives of the Saints.
Buildings representing this period include Notre Dame, Paris; Chartres Cathedral, Reims Cathedral, Rouen Cathedral, Strasbourg Cathedral in France, Antwerpen Cathedral in Belgium, Cologne Cathedral in Germany, St. Stephen's Cathedral of Vienna in Austria, Florence Cathedral, Siena Cathedral, Cathedral of Milan and San Lorenzo Maggiore, Naples in Italy, Burgos Cathedral , Toledo Cathedral and Leon Cathedral in Spain, Guarda Cathedral in Portugal, Salisbury Cathedral, Canterbury Cathedral and Lincoln Cathedral in England.
Renaissance
At the beginning of the 15th century a competition was held in Florence for a plan to coat the center of the great and unfinished Gothic Cathedral. It was won by the dome-inspired Brunelleschi artist he saw on his journey, such as the San Vitale di Ravenna and the great Roman period dome that shaded the Pantheon, devising the great dome considered the first building of the Renaissance period. But his style, visually, striped and pointed and pure Gothic. It was the Renaissance (rebirth) in his courage and the fact that he returned to Roman structural engineering. Brunelleschi, and others like him, developed a passion for a very subtle Roman style of architecture, where shapes and decorations followed the rules of placement and long-neglected proportions. They seek to rediscover and apply these rules. It was a period of architectural and experimental theory. Brunelleschi built two large churches in Florence demonstrating how new styles can be applied, San Lorenzo and Santo Spirito. They are essays in Classics, with rows of cylindrical columns, Corinthian capital, entablatures, semicircular arches and apsidal chapels.
The greatest cathedral of the time was the rebuilding of St. Peter's Basilica in Rome, the combined work of Bramante, Raphael, Sangallo, Maderno architects and overcome by the noble domes of Michelangelo, taller but only one foot narrower than Brunelleschi had built. a hundred years earlier in Florence. Dome is an external and internal focus. The chancel and transept arms are identical in shape, thus remembering the Greek cross plan of the Byzantine churches. The real core is extra.
Pope Julius II was able to lead the greatest artists of his day as a designer. (The architect's role has not yet become separated from painters, sculptors, or builders.) The product of many of these thoughts is the glorious, the great, and the whole.
Baroque
By the time St. Peter's finished, the architectural style was developed by architects who knew all the restored rules carefully, and chose to break them. The effect is a dynamic architectural style in which the shapes look like their own lives, moving, rocking and bumpy. The Baroque name means 'pearl mis-shapen'.
There are many great churches, monasteries, and basilicas built in this style, but some of the cathedrals in Western Europe, the most famous are the St. Paul in London. St. Paul's is an unusual cathedral as it was designed by one individual and completed in no time. The architect is Sir Christopher Wren and the building replaces the ancient cathedral burned in the Great Fire of 1666. It is a Baroque style, but it is a very controlled Baroque type and England where Wren creates a surprising and dramatic spatial effect. , especially in the use of the dome, which, like the dome of Brunelleschi in Florence, encompasses not only the center of the church but also its aisles, opening the entire center of the church into a vast space of light.
In Russia, for the most part, the Baroque style is overlaid as architectonic traits on Byzantine forms that are essentially used for church construction. Many churches were built in this style, especially the Dormitory Cathedral at Smolensk and the Presentation Cathedral in Solvychegodsk. In the design of many churches, Byzantine arrangements of tented roofs or onion domes are replaced by larger domes, usually at high, often polygonal, tambour.
Many European cathedrals feature baroque, high altars, faÃÆ'§ades, and chapels. The faÃÆ'§ades Santiago de Compostela, JaÃÆ'  © n Cathedral and Valladolid Cathedral in Spain are being rebuilt today. Baroque style was brought by Spain and Portugal to South and Central America, to the Philippines and to Goa in India where it became a leading building style for large and small churches. Both in America and in the Philippines, large Baroque churches often have a vast fa§§ade that seems to stretch out among the towers. Excellent decoration decoration in Spain and America is called Churrigueresque.
Rococo
The Rococo style is the ultimate evolution of Baroque architecture, first seen in French domestic architecture and design. It is distinguished by the asymmetry found in the decor, generally taking the form of carved carvings or borders. This decor is loosely based on organic objects, especially shells and plant growth, but also in other natural forms that have "regular chaos" like cloud waves. Such decorated churches may have a strong but lightweight form of baroque architecture and general appearance, sometimes portrayed as "playful". A number of pilgrim churches in Bavaria, Germany, are of this style, especially the Basilica of the Fourteen Holy Assists (Vierzehnheiligen) near Bamberg by Johann Balthasar Neumann, the master and practically the originator of that style. It combines a relatively quiet exterior with a dynamic internal plan and a very beautiful decorative scheme of painted ceilings and figurative statues, all arranged in a variety of gilded Rococo cartouche. Externally, the façade has a rippling surface, and rises with increasing ornateness to the fantastic cupola that is typical of Bavarian churches and much of central and eastern Europe.
Perhaps the most extraordinary large-scale example of the Rococo church building is the Frauenkirche in Dresden, which was recently rebuilt after being completely destroyed in World War II. The entire structure embodies a dynamic, bumpy movement that combines with the architectural detail detail typical of the Rococo style. The church is dominated by a bell-shaped dome that is imitated in a form that can be found in countless church towers in the area, but recreated here not in wood-shrouded metal, but as a mighty masonry dome.
Revivals
The 18th and 19th centuries were a period of expansion and colonization by Western Europeans. It was also a time of Christian awakening and in England, considerable growth in the Roman Catholic Church. There is also a lot of industrialization and growth of cities. New churches and cathedrals are needed. Medieval styles, and especially Gothic ones, are seen as best suited for the construction of new cathedrals, both in Europe and in the colonies.
Cathedral in Gothic Revival style including Liverpool Anglican Cathedral in England, New Cathedral, Linz in Austria, Cathedral of Saint John the Divine in New York and St Patrick's Cathedral, Melbourne in Australia.
Not all revival-style cathedrals are Gothic. Westminster Cathedral, seat of the Roman Catholic Bishop of Westminster, is an eclectic design dominated by Byzantine style with highly polychrome walls, dome and Italian-style campaniles. Mary, Queen of the World Cathedral in Canada is a Renaissance revival building based in St Peter, Rome.
Modern
In the 20th century, buildings in the Medieval style continued, but in a stripped form, a clean functional form, often in bricks. A good example is the Guildford Cathedral in England. Another is the Armidale Anglican Cathedral in Australia.
After the traditionalist ideas of World War II were abandoned for the redevelopment of the bombed cathedral in Coventry. The old cathedral is actually a large parish church that has been elevated to cathedral status. Its magnificent peak fortunately escaped severe damage. The new Coventry cathedral, from stone sheets and stained glass alternately tries to capture symbolically the feel of the old cathedral church, without trying to reproduce it. Liverpool Metropolitan Cathedral is a 20th century answer to a centrally planned church, a large circular structure with a central sanctuary.
Modern Posts
Like other Postmodern movements, the Postmodern Movement in Architecture was formed in reaction to the ideals of modernism in response to the perceived blandness, hostility, and Utopianism of the Modern movement. Although rare in the architectural design of the Church, there are several important examples when architects began to restore and renew the historical style and "cultural memory" of Christian architecture. Famous practitioners include Dr. Steven Schloeder, Duncan Stroik, and Thomas Gordon Smith.
The shape and functional and formal spaces of the modernist movement are replaced by unapologetically diverse aesthetics: colliding styles, adopted forms for self-interest, and new ways of seeing familiar styles and abound spaces. Perhaps most obviously, architects rediscover the expressive and symbolic value of architectural elements and forms that have evolved over centuries of building - often retaining meaning in literature, poetry and art - but which have been abandoned by the modern movement.
See also
Architectural style (chronological order)
Architectural features
Decorative features
References
Bibliography
External links
Byzantine
romantic cathedral
Source of the article : Wikipedia
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