1.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
2.
Province of Pavia
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The province of Pavia is a province in the region of Lombardy in northern Italy. Its capital is Pavia and the president of the province is Daniele Bosone, as of 2015, the province has a population of 548,722 inhabitants and an area of 2,968.64 square kilometres, the town of Pavia has a population of 72,205. The city Pavia was initially settled by the Ligures and was occupied by Gaulish tribes. In the sixth century it was the capital of German tribe the Lombards, however, following the death of Charlemagne, the Lombard territory became part of Frankish territory. In the 12th century, it became a commune after Frankish rule ceased, the University of Pavia was founded in 1361. Starting from 1359, Pavia and its neighbourhood were owned by the Visconti and then the Sforza of Milan, until, in 1499 and it was the scene of a Franco-Imperial battle in 1525, in which Charles V, Holy Roman Emperor defeated Francis I of France. The Province of Pavia is in the region of Lombardy in northwestern Italy and it is bounded to the north by the provinces of Milan and the Lodi, to the southeast by the Province of Piacenza, and to the southwest it is bounded by the Province of Alessandria. The province is crossed by the rivers Ticino and Po, which meet four kilometres south of the capital, the province contains 190 communes and the River Po is navigable up to its confluence with the Ticino. The territory of Siccomario, at the confluence of the two rivers, should properly be included in Lomellina, but for historical reasons it is considered part of Pavese. Another large river flowing through the province is the Olona, the province is mostly flat with the northwestern part of the province being good agricultural land. The southern part rises to low hills which give way to the Ligurian Apennines, the town of Pavia has a major position in northern Italys textile industry and is renowned for hatmaking. It also plays its part in the engineering and metallurgical industries. This is an important winemaking district and produces sparkling wines and it is the largest area in Italy for the production of Pinot noir. The list below shows the most populated municipalities of the province in 2010, Comuni of the Province of Pavia Province of Pavia official website Oltrepò Pavese Touristic site
3.
Architect
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An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
4.
Architectural style
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An architectural style is characterized by the features that make a building or other structure notable or historically identifiable. A style may include such elements as form, method of construction, building materials, styles therefore emerge from the history of a society. They are documented in the subject of architectural history, at any time several styles may be fashionable, and when a style changes it usually does so gradually, as architects learn and adapt to new ideas. Styles often spread to places, so that the style at its source continues to develop in new ways while other countries follow with their own twist. A style may also spread through colonialism, either by foreign colonies learning from their home country, one example is the Spanish missions in California, brought by Spanish priests in the late 18th century and built in a unique style. After a style has gone out of fashion, revivals and re-interpretations may occur, for instance, classicism has been revived many times and found new life as neoclassicism. Each time it is revived, it is different, the Spanish mission style was revived 100 years later as the Mission Revival, and that soon evolved into the Spanish Colonial Revival. Vernacular architecture works slightly differently and is listed separately and it is the native method of construction used by local people, usually using labour-intensive methods and local materials, and usually for small structures such as rural cottages. It varies from region to region even within a country, as western society has developed, vernacular styles have mostly become outmoded due to new technology and to national building standards. Paul Jacobsthal and Josef Strzygowski are among the art historians who followed Riegl in proposing grand schemes tracing the transmission of elements of styles across great ranges in time and this type of art history is also known as formalism, or the study of forms or shapes in art. Terms originated to describe architectural periods were often applied to other areas of the visual arts, and then more widely still to music, literature. In architecture stylistic change often follows, and is possible by. While many architectural styles explore harmonious ideals, Mannerism wants to take style a step further and explores the aesthetics of hyperbole, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favours compositional tension and instability rather than balance and clarity, the definition of Mannerism, and the phases within it, continues to be the subject of debate among art historians. An example of mannerist architecture is the Villa Farnese at Caprarola. in the country side outside of Rome. The proliferation of engravers during the 16th century spread Mannerist styles more quickly than any previous styles, a center of Mannerist design was Antwerp during its 16th-century boom. Through Antwerp, Renaissance and Mannerist styles were introduced in England, Germany. During the Mannerist Renaissance period, architects experimented with using architectural forms to emphasize solid, the Renaissance ideal of harmony gave way to freer and more imaginative rhythms
5.
Italian language
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By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
6.
Pavia
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Pavia is a town and comune of south-western Lombardy, northern Italy,35 kilometres south of Milan on the lower Ticino river near its confluence with the Po. It has a population of c, the city was the capital of the Kingdom of the Lombards from 572 to 774. Pavia is the capital of the province of Pavia, known for agricultural products including wine, rice, cereals. Although there are a number of industries located in the suburbs, Pavia is the episcopal seat of the Roman Catholic Bishop of Pavia. The city possesses many artistic and cultural treasures, including several important churches and museums, dating back to pre-Roman times, the town of Pavia, then known as Ticinum, was a municipality and an important military site under the Roman Empire. It was said by Pliny the Elder to have founded by the Laevi and Marici. It was at Pavia in 476 AD that the reign of Romulus Augustulus, ten months after Romulus Augustulus’s reign began, Orestes’s soldiers under the command of one of his officers named Odoacer, rebelled and killed Orestes in the city of Pavia in 476. Without his father Romulus Augustulus was powerless, instead of killing Romulus Augustulus, Odoacer pensioned him off at 6,000 solidi a year before declaring the end of the Western Roman Empire and himself king of the new Kingdom of Italy. Odoacer’s reign as king of Italy did not last long, because in 488 the Ostrogothic peoples led by their king Theoderic invaded Italy and waged war against Odoacer. After fighting for 5 years Theoderic defeated Odoacer and on March 15,493 assassinated Odoacer at a banquet meant to negotiate a peace between the two rulers, with the establishment of the Ostrogoth kingdom based in northern Italy, Theoderic began his vast program of public building. Pavia was among several cities that Theodoric chose to restore and expand and he began the construction of the vast palace complex that would eventually become the residence of Lombard monarchs several decades later. Near the end of Theoderic’s reign the Christian philosopher Boethius was imprisoned in one of Pavia’s churches from 522 to 525 before his execution for treason and it was during Boethius’s captivity in Pavia that he wrote his seminal work the Consolation of Philosophy. Pavia played an important role in the war between the Eastern Roman Empire and the Ostrogoths that began in 535, after the capitulation of the Ostrogothic leadership in 540 more than a thousand men remained garrisoned in Pavia and Verona dedicated to opposing Eastern Roman rule. The resilience of Ostrogoth strongholds like Pavia against invading forces allowed pockets of Ostrogothic rule to limp along until finally being defeated in 561, Pavia and the peninsula of Italy didn’t remain long under the rule of the Eastern Roman Empire for in 568 a new people invaded Italy. This new invading people in 568 were the Lombards, in their invasion of Italy in 568, the Lombards were led by their king Alboin, who would become the first Lombard king of Italy. Alboin captured much of northern Italy in 568 but his progress was halted in 569 by the city of Pavia. Meanwhile Alboin, after driving out the soldiers, took possession of everything as far as Tuscany except Rome and Ravenna and some other fortified places which were situated on the shore of the sea. ”The Siege of Ticinum finally ended with the Lombards capturing the city of Pavia in 572. Pavia’s strategic location and the Ostrogoth palaces located within it would make Pavia by the 620s the main capital of the Lombards’ Kingdom of Pavia, under Lombard rule many monasteries, nunneries, and churches were built at Pavia by the devout Christian Lombard monarchs
7.
Roman Catholic Diocese of Pavia
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The Diocese of Pavia is a see of the Catholic Church in Italy. It is a suffragan of the Archdiocese of Milan, the diocese has produced one Pope and Patriarch of Venice, and three cardinals. The dioceses motherchurch and thus seat of its bishop is the Cattedrale di Maria Assunta e S. Stefano Protomartire, the current Bishop of Pavia is Corrado Sanguineti, appointed by Pope John Paul II on 1 December 2003. The dioceses 100 parishes are all located in the region Lombardy,97 in the Province of Pavia and 2 in the Province of Milan, there is one priest for every 1291 Catholics. Timeline of Pavia Majocchi, Piero, Montanari, Mirella, I vescovi dellItalia settentrionale nel basso Medioevo, cronotassi per le diocesi di Cremona, Pavia e Tortona nei secoli XIV e XV. Series episcoporum Ecclesiae catholicae, quotquot innotuerunt a beato Petro apostolo, ratisbon, Typis et Sumptibus Georgii Josephi Manz. Hierarchia catholica medii et recentis aevi V. Patavii, Messagero di S. Antonio, hierarchia catholica medii et recentis aevi VI. Italia sacra sive de Episcopis Italiae, official site Catholic-Hierarchy GCatholic. org Herbermann, Charles, ed. Diocese of Pavia
8.
Syrus of Pavia
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Saint Syrus of Pavia is traditionally said to have been the first bishop of Pavia during the 1st century. His legend, according to the 14th century source known as the De laudibus Papiæ, Syrus is said to have followed Saint Peter to Rome and from there he was sent to the Po valley to preach and convert the people to the Christian faith. He preached in all of the cities of northern Italy. Another tradition, dating back to the 8th century, makes Syrus a disciple of Saint Hermagoras, Hermagoras was the founder of the diocese of Aquileia. Together with Juventius of Pavia he was sent there by Saint Hermagoras, both Juventius and Syrus are reported to have been the first bishop of Pavia. Syrus worked to challenge and convert those who followed Arianism in his diocese, Syrus is the patron saint of Pavia. Bramante designed the chapel of San Siro in the citys cathedral, hippolyte Delehaye, The Legends of the Saints,37. N. Everett, The Earliest recension of the Life of S. Sirus of Pavia, Studi Medievali 43, Saint Siro Saint Syrus of Pavia 12 September at Dominican Martyrology 1st century saints at Orthodox England. Archived from the original on 2012-09-10, San Siro di Pavia San Siro di Pavia at the Italian Wikipedia San Siro
9.
Crown of thorns
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According to three of the canonical Gospels a woven crown of thorns was placed on the head of Jesus during the events leading up to the crucifixion of Jesus. It was one of the instruments of the Passion, employed by Jesus captors both to cause him pain and to mock his claim of authority. It is mentioned in the gospels of Matthew, Mark, and John and is alluded to by the early Church Fathers, such as Clement of Alexandria, Origen. In later centuries, relics believed by many to be all or part of the Crown of Thorns have been venerated, a few writers of the first six centuries AD speak of a relic known to be still in existence and venerated by the faithful. St. Cassiodorus, when commenting on Psalm lxxxvi, speaks of the crown of thorns among the relics which are the glory of the earthly Jerusalem. There, he says, we may behold the thorny crown, from these fragments of evidence and others of later date, it is likely that a purported crown of thorns was venerated at Jerusalem from the fifth century for several hundred years. Francois de Mély supposed that the crown was not transferred to Byzantium until about 1063. Eight of these are said to have been there at the consecration of the basilica of Aachen by Pope Leo III. The presence of the Pope at the consecration is a later legend, four were given to Saint-Corneille of Compiègne in 877 by Charles the Bald. Hugh the Great, Duke of the Franks, sent one to the Anglo-Saxon King Athelstan in 927, on the occasion of marriage negotiations. Another was presented to a Spanish princess about 1160, and again another was taken to Andechs Abbey in Germany in the year 1200. In 1238, Baldwin II, the Latin Emperor of Constantinople, anxious to support for his tottering empire, offered the crown of thorns to Louis IX. It was then in the hands of the Venetians as security for a heavy loan, new reliquaries were provided for the relic, one commissioned by Napoleon, another, in jewelled rock crystal and more suitably Gothic, was made to the designs of Eugene Viollet-le-Duc. In 2001, when the treasures from the Sainte-Chapelle were exhibited at the Louvre. Pope John Paul II translated it personally to the Sainte-Chapelle during World Youth Day, the relic can only be seen on the first Friday of every month, when it is brought out for a special veneration mass, as well as each Friday during Lent. See also Feast of the Crown of Thorns, the Catholic Encyclopedia said, Authorities are agreed that a sort of helmet of thorns must have been plaited by the Roman soldiers, this band of rushes being employed to hold the thorns together. None of these now remain at Paris, some small fragments of rush are also preserved. This reaches the height of fifteen or twenty feet and is growing in abundance by the wayside around Jerusalem
10.
Civic Tower (Pavia)
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The Civic Tower was a tower built in the Italian city of Pavia in the 11th century, next to Pavia Cathedral. Built to a footprint, it was 72 metres high. Between 1583 and 1585 the architect Pellegrino Tibaldi led works to add a room at the top of the tower to house the cathedrals bells, which it did until it was moved to a campanile of the Cathedral. On 17 March 1989, at 8.55 a. m. the Civic Tower collapsed, leaving 8,000 cubic metres of brick, sand, the collapse killed four people and injured fifteen. It has not been rebuilt, though some elements from it are now on display at the citys Castello Visconteo, blog with photograph of the structure before its collapse
11.
Giovanni Antonio Amadeo
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Giovanni Antonio Amadeo was an Italian early Renaissance sculptor, architect, and engineer. In 1470 he was commissioned by Bartolomeo Colleoni to complete his funerary chapel, the Cappella Colleoni in Bergamo, Amodeo added polychrome decoration and many sculptures in the ancient style including medallions, small columns, busts, reliefs of Histories from the Old Testament and Histories of Hercules. Amodeo also designed the monument to Medea Colleoni, which was intended for the church of Santa Maria della Basella in Urgnano. Amadeo was also commissioned by Duke Galeazzo Maria Sforza to work for years in the Certosa di Pavia. During 1473-1476, Amodeo realized half of the bas-reliefs in the side of the façade. In 1480 he finished the arch of the Persian Martyrs in the Olivetani Monastery of Cremona, also attributed to him are two statues of Justice and Temperance in Cremona, and reliefs in the National Antiquity Museum of Parma. In 1485 he collaborated with his brother-in-law Pietro Antonio Solari in the Ospedale Maggiore of Milan, Amadeo was then active in the decoration of the Milan Cathedral. He collaborated with Donato Bramante on the facade of Santa Maria presso San Satiro in Milan, in 1488 Amodeo was commissioned by Cardinal Ascanio Sforza, the direction of works of the new Pavia Cathedral, again with Bramante having a minor role. From 1495 Amodeo directed the works of the church of Santa Maria presso San Celso at Milan, from 1497 he directed works at the Milan Cathedral, finishing the tambour in 1500. In the 16th century, Amadeo designed the church of Santa Maria di Canepanova, in 1501 he sculpted reliefs with Stories of the Carthusians and life of St. Bruno for the Certosa of Pavia. In 1982 it has proven that the Sanctuary of Santa Maria alla Fontana in Milan. In 1508 he also presented a model for the spire of the Milan Cathedral, to Amadeo has been also attributed the notable façade of the Cathedral of Lugano, considered a masterpiece of Renaissance architecture. He died in Milan in 1522, dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione. Retrieved Jan 24,2007, digitized by Googlebooks
12.
Bramante
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Donato Bramante, born as Donato di Pascuccio dAntonio and also known as Bramante Lazzari, was an Italian architect. He introduced Renaissance architecture to Milan and the High Renaissance style to Rome and his Tempietto marked the beginning of the High Renaissance in Rome when Pope Julius II appointed him to build a sanctuary over the spot where Peter was allegedly crucified. Bramante was born under the name Donato dAugnolo, Donato di Pascuccio dAntonio, here, in 1467, Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other Renaissance features to Federico da Montefeltros ducal palace. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is a sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie, other works include the Cloisters of SantAmbrogio, Milan. However, in 1499, with his Sforza patron driven from Milan by an invading French army, Bramante made his way to Rome, in Rome, he was soon recognized by Cardinal Della Rovere, shortly to become Pope Julius II. Despite its small scale, the construction has all the proportions and symmetry of Classical structures, surrounded by slender Doric columns. According to an engraving by Sebastiano Serlio, Bramante planned to set it within a colonnaded courtyard. In November 1503, Julius engaged Bramante for the construction of the grandest European architectural commission of the 16th century, the cornerstone of the first of the great piers of the crossing was laid with ceremony on 17 April 1506. Very few drawings by Bramante survive, though some by his assistants do, Bramantes plan envisaged four great chapels filling the corner spaces between the equal transepts, each one capped with a smaller dome surrounding the great dome over the crossing. So Bramantes original plan was much more Romano-Byzantine in its forms than the basilica that was actually built. Bramante also worked on other commissions. Among his earliest works in Rome, before the Basilicas construction was under way, is the cloister of Santa Maria della Pace near Piazza Navona, Santa Maria presso San Satiro, Milan, ca. Palazzo Caprini, Rome, started around 1510 Leon Battista Alberti Giorgio Vasari Davies, Paul, Bramante, Donato, The Dictionary of Art, Vol. IV, New York, Grove, pp. 642–653, ISBN9781884446009. Bramante, Encyclopædia Britannica, 9th ed. Vol. IV, New York, Charles Scribners Sons,1878, Bramante, Encyclopædia Britannica, 11th ed. Vol. IV, Cambridge, Cambridge University Press,1911, p.418. Donato Bramante Source Information, Pictures & Documentaries about Donato
13.
St. Peter's Basilica
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The Papal Basilica of St. Peter in the Vatican, or simply St. Peters Basilica, is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. While it is neither the church of the Catholic Church nor the cathedral of the Diocese of Rome. It has been described as holding a position in the Christian world. Catholic tradition holds that the Basilica is the site of Saint Peter, one of Christs Apostles. Saint Peters tomb is supposedly directly below the altar of the Basilica. For this reason, many Popes have been interred at St. Peters since the Early Christian period, construction of the present basilica, which would replace Old St. Peters Basilica from the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626. St. Peters is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peters Square. St. Peters has many associations, with the Early Christian Church, the Papacy. As a work of architecture, it is regarded as the greatest building of its age, St. Peters is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop, St. Peters is a church built in the Renaissance style located in the Vatican City west of the River Tiber and near the Janiculum Hill and Hadrians Mausoleum. Its central dome dominates the skyline of Rome, the basilica is approached via St. Peters Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoid, the basilica is cruciform in shape, with an elongated nave in the Latin cross form but the early designs were for a centrally planned structure and this is still in evidence in the architecture. The central space is dominated both externally and internally by one of the largest domes in the world, the entrance is through a narthex, or entrance hall, which stretches across the building. One of the bronze doors leading from the narthex is the Holy Door. The interior is of vast dimensions when compared with other churches and this in its turn overwhelms us. The nave which leads to the dome is in three bays, with piers supporting a barrel-vault, the highest of any church. The nave is framed by wide aisles which have a number of chapels off them, there are also chapels surrounding the dome
14.
Leonardo da Vinci
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He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time. Sometimes credited with the inventions of the parachute, helicopter and tank, many historians and scholars regard Leonardo as the prime exemplar of the Universal Genius or Renaissance Man, an individual of unquenchable curiosity and feverishly inventive imagination. Much of his working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded to him by Francis I of France, Leonardo was, and is, renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait, Leonardos drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a type of armoured fighting vehicle, concentrated power, an adding machine. Some of his inventions, however, such as an automated bobbin winder. A number of Leonardos most practical inventions are nowadays displayed as working models at the Museum of Vinci. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, today, Leonardo is widely considered one of the most diversely talented individuals ever to have lived. Leonardo was born on 15 April 1452 at the hour of the night in the Tuscan hill town of Vinci. He was the son of the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary, and Caterina. Leonardo had no surname in the modern sense – da Vinci simply meaning of Vinci, his birth name was Lionardo di ser Piero da Vinci, meaning Leonardo. The inclusion of the title ser indicated that Leonardos father was a gentleman, little is known about Leonardos early life. He spent his first five years in the hamlet of Anchiano in the home of his mother and his father had married a sixteen-year-old girl named Albiera Amadori, who loved Leonardo but died young in 1465 without children. When Leonardo was sixteen, his father married again to twenty-year-old Francesca Lanfredini, pieros legitimate heirs were born from his third wife Margherita di Guglielmo and his fourth and final wife, Lucrezia Cortigiani. Leonardo received an education in Latin, geometry and mathematics. In later life, Leonardo recorded only two childhood incidents, one, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face
15.
Chancel
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In church architecture, the chancel is the space around the altar, including the choir and the sanctuary, at the liturgical east end of a traditional Christian church building. It may terminate in an apse and it is generally the area used by the clergy and choir during worship, while the congregation is in the nave. Direct access may be provided by a door, usually on the south side of the church. In smaller churches, where the altar is backed by the outside east wall and there is no distinct choir, in churches with a retroquire area behind the altar, this may only be included in the broader definition of chancel. In a cathedral or other large church there may be a choir area at the start of the chancel, before reaching the sanctuary. All these may be included in the chancel, at least in architectural terms, in churches with less traditional plans the term may not be useful in either architectural or ecclesiastical terms. The chancel may be a step or two higher than the level of the nave, and the sanctuary is often raised still further and this is an arch which separates the chancel from the nave and transept of a church. As well as the altar, the sanctuary may house a credence table, in some churches, the congregation may gather on three sides or in a semicircle around the chancel. In some churches, the pulpit and lectern may be in the chancel, the word chancel derives from the French usage of chancel from the Late Latin word cancellus. This refers to the form of rood screens. The chancel was formerly known as the presbytery, because it was reserved for the clergy, a large chancel made most sense in monasteries and cathedrals where there was a large number of singing clergy and boys from a choir school to occupy the choir. These usually sat in the nave, with any lay congregation, however the screen enjoyed a small revival in the 19th century, after the passionate urgings of Augustus Pugin, who wrote A Treatise on Chancel Screens and Rood Lofts, and others. After the Reformation Protestant churches generally moved the forward, typically to the front of the chancel. The rear of deep chancels became little used in churches surviving from the Middle Ages, with the emphasis on sermons, and their audibility, some churches simply converted their chancels to seat part of the congregation. Fleming, John, Honour, Hugh, Pevsner, Nikolaus, Dictionary of Architecture,1980, Pevsner, Nikolaus, Priscilla Metcalf, The Cathedrals of England, Southern England,1985, Viking White, James F. The Cambridge Movement, The Ecclesiologists and the Gothic Revival,1962, Wipf and Stock Publishers, ISBN1592449379,9781592449378, google books Chancel
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Carlo Maciachini
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Carlo Francesco Maciachini was an Italian architect and restorer. Born near Varese, he studied in Milan, where he realized some of his most important works. Other notable works of Maciachini are restorations of churches in several cities of northern Italy. Maciachini was born in Induno Olona, in the Province of Varese, as a young boy, he proved to be a talented wood carver, working as an apprentice in local woodworking shops. His first major work as an architect was the realization of the San Spiridione church for the Illyrian Orthodox community in Trieste. A few years later he submitted his proposal for the design of the new Monumental Cemetery of Milan, the cemetery was completed in 1866, and is widely recognized as Maciachinis prominent achievement. Thereafter, Maciachini worked on a number of designs in Milan and other areas of Northern Italy, including several cities in Lombardy, Veneto. He would also return to sculpture and carving, for example, he realized the Corinthian capitals of the church of Bodio. Maciachini was also involved in a failure with his design of the dome of the Cathedral of Pavia. The Cathedral had to remain closed for seven years because pieces of marble would occasionally fall from the fractured dome. The dome is still in place, but its maintenance is difficult, Maciachini died in Varese in 1899, and was buried in the Monumental Cemetery of Milan. To honour his contributions to the architecture of Milan, a square of the city. Especially in the restoration of old buildings, Maciachini developed a personal and appreciated style, a recurring theme in Maciachinis style is the extensive use of dense patterns of geometric shapes and symbols in the decoration of facades, rose windows, and other architectural elements. On the other hand, stars of David, pentagrams, swastikas, triskelions and this predilection for pagan symbols has aroused a number of theories alleging that Maciachini was an affiliate of some sort of secret organisation, such as a Freemasonry society
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Transept
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A transept is a transverse part of any building, which lies across the main body of the edifice. In churches, a transept is an area set crosswise to the nave in a building within the Romanesque. Each half of a transept is known as a semitransept, the transept of a church separates the nave from the sanctuary, apse, choir, chevet, presbytery or chancel. The transepts cross the nave at the crossing, which belongs equally to the main nave axis, upon its four piers, the crossing may support a spire, a central tower or a crossing dome. Since the altar is located at the east end of a church. The north and south end walls often hold decorated windows of stained glass, such as rose windows, occasionally, the basilicas and the church and cathedral planning that descended from them were built without transepts, sometimes the transepts were reduced to matched chapels. More often, the transepts extended well beyond the sides of the rest of the building, forming the shape of a cross and this design is called a Latin cross ground plan, and these extensions are known as the arms of the transept. A Greek cross ground plan, with all four extensions the same length, when churches have only one transept, as at Pershore Abbey, there is generally a historical disaster, fire, war or funding problem, to explain the anomaly. At Beauvais only the chevet and transepts stand, the nave of the cathedral was never completed after a collapse of the daring high vaulting in 1284. At St. Vitus Cathedral, Prague, only the choir, in a metro station or similar construction, a transept is a space over the platforms and tracks of a station with side platforms, containing the bridge between the platforms. Placing the bridge in a rather than an enclosed tunnel allows passengers to see the platforms. Aisle Apse Cathedral architecture Cathedral diagram Glossary of the Catholic Church Transom
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Reinforced concrete
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The reinforcement is usually, though not necessarily, steel reinforcing bars and is usually embedded passively in the concrete before the concrete sets. Reinforcing schemes are designed to resist tensile stresses in particular regions of the concrete that might cause unacceptable cracking and/or structural failure. Modern reinforced concrete can contain varied reinforcing materials made of steel, Reinforced concrete may also be permanently stressed, so as to improve the behaviour of the final structure under working loads. In the United States, the most common methods of doing this are known as pre-tensioning and post-tensioning, durability in the concrete environment, irrespective of corrosion or sustained stress for example. François Coignet was a French industrialist of the century, a pioneer in the development of structural. Coignet was the first to use iron-reinforced concrete as a technique for constructing building structures, in 1853 Coignet built the first iron reinforced concrete structure, a four story house at 72 rue Charles Michels in the suburbs of Paris. Coignets descriptions of reinforcing concrete suggests that he did not do it for means of adding strength to the concrete, in 1854, English builder William B. Wilkinson reinforced the concrete roof and floors in the two-storey house he was constructing. His positioning of the reinforcement demonstrated that, unlike his predecessors, in 1877, Monier was granted another patent for a more advanced technique of reinforcing concrete columns and girders with iron rods placed in a grid pattern. Though Monier undoubtedly knew reinforcing concrete would improve its inner cohesion, before 1877 the use of concrete construction, though dating back to the Roman Empire and reintroduced in the mid to late 1800s, was not yet a proven scientific technology. His work played a role in the evolution of concrete construction as a proven. Without Hyatts work, more dangerous trial and error methods would have largely depended on for the advancement in the technology. G. A. Wayss was a German civil engineer and a pioneer of the iron, in 1879 Wayss bought the German rights to Moniers patents and in 1884 started the first commercial use for reinforced concrete in his firm Wayss & Freytag. Up until the 1890s Wayss and his firm greatly contributed to the advancement of Moniers system of reinforcing, ernest L. Ransome was an English-born engineer and early innovator of the reinforced concrete techniques in the end of the 19th century. With the knowledge of reinforced concrete developed during the previous 50 years, ransomes key innovation was to twist the reinforcing steel bar improving bonding with the concrete. Gaining increasing fame from his concrete constructed buildings Ransome was able to build two of the first reinforced concrete bridges in North America, one of the first concrete buildings constructed in the United States, was a private home, designed by William Ward in 1871. The home was designed to be fireproof for his wife, one of the first skyscrapers made with reinforced concrete was the 16-storey Ingalls Building in Cincinnati, constructed in 1904. Many different types of structures and components of structures can be built using reinforced concrete including slabs, walls, beams, columns, foundations, frames, Reinforced concrete can be classified as precast or cast-in-place concrete. Designing and implementing the most efficient floor system is key to creating optimal building structures, small changes in the design of a floor system can have significant impact on material costs, construction schedule, ultimate strength, operating costs, occupancy levels and end use of a building
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Pantheon (Rome)
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The Pantheon is a former Roman temple, now a church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus. The present building was completed by the emperor Hadrian and probably dedicated about 126 AD and he retained Agrippas original inscription, which has confused its date of construction as the original Pantheon burnt down so it is not certain when the present one was built. The building is circular with a portico of large granite Corinthian columns under a pediment, a rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening to the sky. Almost two thousand years after it was built, the Pantheons dome is still the worlds largest unreinforced concrete dome, the height to the oculus and the diameter of the interior circle are the same,43.3 metres. Mary and the Martyrs but informally known as Santa Maria Rotonda, the square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a property, ruled by Italys Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. The Pantheons large circular domed cella, with a temple portico front, is unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, Pantheon is derived from the Ancient Greek Pantheion meaning of, relating to, or common to all the gods. His uncertainty strongly suggests that Pantheon was merely a nickname, not the name of the building. In fact, the concept of a dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippas was at Antioch in Syria and it seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. Godfrey and Hemsoll maintain that the word Pantheon need not denote a group of gods, or, indeed, even all the gods. Certainly the word pantheus or pantheos, could be applicable to individual deities…, bearing in mind also that the Greek word θεῖος need not mean of a god but could mean superhuman, or even excellent. It seems likely that the Pantheon and the Basilica of Neptune were Agrippas sacra privata and this less solemn designation would help explain how the building could have so easily lost its original name and purpose in such a relatively short period of time. However, archaeological excavations have shown that the Pantheon of Agrippa had been destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan and her argument is particularly interesting in light of Heilmeyers argument that, based on stylistic evidence, Apollodorus of Damascus, Trajans architect, was the obvious architect. The form of Agrippas Pantheon is debated and this description was widely accepted until the late 20th century. The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Plinys Natural History, from him we know that the capitals, too, of the pillars, which were placed by M
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Florence Cathedral
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The Cattedrale di Santa Maria del Fiore is the main church of Florence, Italy. The exterior of the basilica is faced with marble panels in various shades of green. The cathedral complex, located in Piazza del Duomo, includes the Baptistery and these three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting Tuscany. The basilica is one of Italys largest churches, and until development of new materials in the modern era. It remains the largest brick dome ever constructed, the cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori. Santa Maria del Fiore was built on the site of a cathedral dedicated to Saint Reparata. The new church was designed by Arnolfo di Cambio and approved by city council in 1294, di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9,1296, by Cardinal Valeriana, the building of this vast project was to last 140 years, Arnolfos plan for the eastern end, although maintained in concept, was greatly expanded in size. After Arnolfo died in 1310, work on the cathedral slowed for thirty years, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of merchants, took over patronage for the construction of the cathedral. Assisted by Andrea Pisano, Giotto continued di Cambios design and his major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building work was halted due to the Black Death in 1348. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini who divided the nave in four square bays. Other architects were Alberto Arnoldi, Giovanni dAmbrogio, Neri di Fioravante, by 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418, only the dome remained incomplete, on 18 August 1418, the Arte della Lana announced an architectural design competition for erecting Neris dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of doors for the Baptistery in 1401
