The Basilica of Saint John Lateran to 1600 (original) (raw)
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www.arkeologiuv.se Cover illustration The illustration shows the laser-scanned façade A. Graphics Håkan Thorén. Production and layout Britt Lundberg Graphics Olof Brandt, Håkan Thorén Photography The project Printed by UV Öst, Linköping, Sweden 2010
The Making of St. Peter's Basilica, Vatican City (Draft Paper). Co-author: Rutika Parulkar
Unpublished, 2013
This paper was an assignment in conjunction to the architectural design studio addressing historicity. Structure chosen was to have a prolonged period and evolution in design and construction. The changes occurred over the years in the building of the structure were to be addressed. The paper does not address any stylistic architectural elements or eras in detail. Also the paper does not address any iconography or art history in detail. [Addition] It's noticed that this paper has been referred to & downloaded a number of times. Please note that the material herein has been referenced from a variety of sources and all the references couldn't be retraced in the short time when it was written. Apologies for the same. Hence, not all the material herein is our own. Rather I would call it a good compilation for maximum information related to the evolution of the design and construction. Any inconvenience caused is completely unintentional and highly regretted. Thanks [Addition] You do not need my permission to download, it is open to all. You just have to click on download button
In the late sixteenth century, a canon of the Basilica of St. Peter's by the name of Tiberio Alfarano began to craft a monument that is truly remarkable in the history of architecture, literally a paper version of St. Peter's, superimposing the plan of the old basilica on that of the new and marking it with letters referring to the holy sites-altars, chapels, tombs and so on-that once filled the church, and which were expanded upon in an accompanying text. In 1590 the plan, with further lists and notes, was rendered in an etching by Natale Bonifacio. The resulting visual-verbal amalgam represents an extraordinary act of intermedial thinking, even though we have often taken it for granted as a mere repository of data. The number of sites and objects whose identity might otherwise have remained unknown after the old basilica was torn down eventually ran up to 174 (with over three dozen places also marked and explained by letters), making the paper St. Peter's an indispensible (although not entirely indisputable) guide. Thus weighty and magniloquent architecture became portable-an amazing turn of events-and it did so in a form that was not only informative but robustly beautiful. The combined work of Alfarano and Bonifacio, which was authoritatively published by Michele Cerrati in 1914, stands as a kind of last word in the present volume, where it is appended in reproduction as an insert pasted against the back cover of the book. As the introduction states, the plan also served as the "basis" for the diagrams that form the frontispieces to the various chapters, which seem rather anemic by comparison and sometimes fail to communicate key points.
From Rome to Cracow: the architectural setting of the relics of saint Stanislaus in the XIV century
Architettura medievale: il Trecento. Modelli, tecniche, materiali, 2022
From Rome to Cracow: the architectural setting of the relics of saint Stanislaus in the XIV century* 1. Exposition of the relics of saint Stanislaus in Cracow cathedral Cracow cathedral, in its present shape built between 1320 and 1364, was on many levels a focal point of the late medieval kingdom of Poland. 1 Situated next to the royal residence, from 1320 it served as a place of coronations and the royal burial site. Moreover, the cathedral houses the relics of saint Stanislaus, one of the Polish national saints, as well as the early Christian martyr saint Florian; the latter, however, in that time no longer played a truly significant role in the local liturgy. An altar containing the relics of both saints, covered with a XVII century canopy, is situated at the crossing of the nave and the transept (figs. I-1). Despite the reconstruction of its setting, the shrine was not moved and is still located in the same place as in the late middle ages. The whole arrangement is particularly striking because of the characteristic spatial layout of the church. The position of the shrine marks the very centre of the cathedral, as its nave, having only three bays, is very short, even shorter than the choir, which makes the plan of the whole church almost central. The shrine is also situated at the crossing of the two main functional and optical axes of the church. It faces both the western, and now main, entrance in the west wall of the nave and the south portal in the transept, which used to serve the clergy as well as king and court. Such an exposition of the relics seems to have no parallels in Late Medieval architecture. Thus, it is crucial to determine whether such a location of the shrine was the creation of the XIV century founders and whether it was intended from the very beginning of the works in 1320.
The Basilica of Saint John Lateran to 1600, 2020
Dedicated to Sible de Blaauw, a bit too late for his sixty-fifth birthday In October 2014 a conference was held in Mannheim on 'The Popes and the Unity of the Latin World'. The papers from this conference have recently been published under the title Die Päpste: Amt und Herrschaft in Antike, Mittelalter und Renaissance. 1 The book cover shows the silhouette of Saint Peter's basilica combined with Arnolfo di Cambio's statue of Pope Boniface VIII as one of the most famous representatives of the medieval papacy. But why the dome of Saint Peter's? Why not San Giovanni in Laterano, which is still the cathedral of the bishop of Rome and therefore stricto sensu the head and mother of all the other churches in Rome and the world? The honorary title OMNIVM VRBIS ET ORBIS ECCLESIARVM MATER ET CAPVT was officially assigned to the Lateran basilica by papal bull in 1372 and can be read still today in an inscription on the eighteenth-century façade of Alessandro Galilei (Fig. 15.1). 2 The fact that the organisers of the Mannheim conference did not even comment on their choice of Saint Peter's basilica for the conference flyer and the book cover proves the close and unquestioned link between papacy and Saint Peter's in our perception today. The basilica of Saint Peter's actually seems to have turned into a cypher for the pope and for papacy as an institution. It is Saint Peter's that is regarded as the 'most important church in Western Christendom' and the 'most significant religious site in Western Europe', at least in the eyes of those colleagues who in March 2010 held a conference about