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The role of papacy
Late medieval papacy and church time period
Late medieval papacy and church time period
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While exploring the city of Rome, one can find themselves amongst a multitude of Christian basilicas and cathedrals built as soon as the early fourth century. One of the most important, beautiful, and significant churches built in early Christian Rome was the basilica of Santa Maria Maggiore. Sponsored by Pope Sixtus III from 432 to 440 CE , this basilica was the first church in the Christian faith that was dedicated to the Virgin Mary. With its elaborate mosaics, grand size, and several important relics found inside, the basilica of Santa Maria Maggiore reveals through its history, art, and architecture, the theological importance of the Virgin Mary, and the roots of Marian devotion.
The history of Santa Maria Maggiore begins with its legend
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As the Edict of Milan in 313 CE claimed Christianity to be the religion of Rome, Christians no longer had to hide their religion and beliefs in fear of persecution or martyrdom.8 In the early fourth century, Christians practiced their religion and worshiped in small house churches called “tituli” that were owned by several different wealthy Christian families, and spread amongst the city. Although these house churches gave Christians a place to worship, they were not extremely visible in the community. After the Edict of Milan, several major basilicas in the fourth century began to be built, giving Christianity a sense of power and visibility it had never experienced before. Thus, the basilica of Santa Maria Maggiore was an important architectural advocate for the relatively newly accepted religion of Christianity in Rome. Also, as this basilica was sponsored and funded by Pope Sixtus III, it also was a great representative of papal power. As it further exposed Rome to the religion of Christianity, it also shed a light on the importance of the role of the pope in the Christian faith, and the kind of power that the pope was entitled to as the head of the church. As the history behind Santa Maria Maggiore displays the importance of Virgin Mary in the Christian faith, its art, architecture, and layout provides an even more deep understanding of the role of
St Peter’s basilica which is built based on rational form of architecture is a Late Renaissance church located within Vatican City, designed by Donato Bramante. Its significant history is that according to the Catholic tradition this was the place that Saint Peter was buried. Not so far away...
The rise of Christianity in Rome did not come easily. It came with much destruction and death. The spark of Christianity in Rome came from an appearance of Martyrs in Rome. Martyrs were people that were executed for going against the common beliefs of pagan (polytheistic) ways. (Tignor, 2011, p. 286) Because of these awful executions, Christianity is said to be based off of “the blood of martyrs.” One of their main ways of spreading Christianity was through the sharing of their writings and by 300 CE there was an exceptional amount of book production throughout Rome. (Tignor, 2011, p. 289) “Christianity operated as one among many minority religions in the Roman Empire, and on several occasions experienced widespread persecution, especially under the emperors Nero (r. 54–68), Decius (r. 249–251), and Diocletian (r. 284–305). However, the situation changed radically under the emperor Constantine (r. 306–337), who in 313 issued the Edict of Milan that made Christianity a legitimate religion in the empire.” (Melton, 2010, p. 634)
Siena, a town located in the heart of the “boot” of Italy is stationed just over forty miles south of Florence. This city claimed the Virgin Mary as their patron saint praying to her for protection and the keeping of peace. Siena’s nickname was “Vetusta Civitas Virgins” which means “The Ancient City of the Virgin.” Therefore creating Mary as the main focus of the Maestà was not even questionable in Duccio’s large-scale masterpiece. Even today, many pray to the iconography of Mary as seen in the portable Catholic rosaries of the majestic virgin. Majesty translates to Maestà in Italian. It was named this because it beheld the Virgin in majesty reflecting the high regards of Mary during that time.
The maintenance and completion of the Baptistery of San Giovanni, one of the oldest and most significant buildings in Florence, was entrusted to the Arte del Calimala Guild. This wool merchants’ guild was the oldest of Florentine guilds and was extremely powerful and wealthy. This wealth and power was due in large part to the fact that Florence was the fabric capital of Italy. The Baptistery was dedicated to Florence’s patron saint, John the Baptist. Consequently, the first set of doors created by Andrea Pisano in 1336 depicted scenes from the life of Saint John the Baptist and was installed on the east or main entrance side.
The image of the Virgin Mary seen by Juan Diego has changed the world. About forty years after Mary’s appearance to Diego, it is believed to be a turning point in western civilization. At this time there were a lot of copies of the painting of Our Lady of Guadalupe being circulated around Europe and one ended up in the hands of Admiral Giovanni Andrea Doria. The King of Spain gave this special copy to him. There were three hundred Turkish ships blocking the Gulf of Lepanto and the admiral was given command of a squadron to sail to the blockade. The Christian fleet consisting of about three hundred ships was to meet the Turkish navy head on. However, the Turkish outmaneuvered the Christian forces. It is said that when this crucial hour was at hand, Doria went into his cabin to kneel and pray before the Image of Guadalupe. By nightfall the direction of the battle started to shift. One Turkish squadron was defeated and captured causing the others to panic which lead to the destruction of the whole fleet. Fifteen thousand Christians that were enslaved in the Turkish galleys were freed. This battle marked the end of the Ottoman Empire’s expansion into the western Mediterranean.1
Ziggy Marley once said, “God is like the sun. When the sun shines, it shines for everyone. God is for everyone.” In the same way, Abbot Suger built the Basilica of St. Denis so that sunlight would flood throughout the building and symbolize the power of God inviting visitors into the cathedral. The Basilica of St. Denis was an artistic response to the rise of the Catholic Church’s power for it was modeled to be a physical representation of heaven, which the church heavily preached upon. (Thesis) As the basilica represented the shift from Romanesque architecture to Gothic, Abbot Suger introduced new techniques that transformed cathedrals to look more spacious and “heavenly”. (Map Statement #1-Art History) By allowing sunlight to come through the large windows, Abbot Suger instilled the Neo-Platonic idea that the sun was the physical representation of God. (Map Statement #2 –Philosophy) Also, at that time, the church was rising in power, so the new structural style of the basilica brought more converts and eventually more power to the church. (Map Statement #3 –Social Institutions) [Insert Literature Map Statement] The Basilica of St. Denis was built so that worshippers would be in awe of the “heaven-like” setting, which would cause more people to declare their faith to God and to the church.
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
Constantine also sent letters around the Roman Empire to tell them about the empire’s conversion to Christianity. By 400 A.D., Christianity became the official religion practiced by almost all Romans. Clovis was not as dedicated as Constantine was to his conversion, and his actions did not show as much dedication as Constantine’s did. Though Constantine and Clovis’ effects were the same, their commitment to Christianity differed. Constantine went far beyond the Edict of Milan, which extended indulgence of Christians during the persecution.
The Christian Church was absolutely instrumental in the art of the Renaissance. It was the driving force behind every inspiration; without the Church, there would have been no art. The Church was the only institution powerful enough to be able to support the commissions of all of the artwork, and it was the only institution, in which people had enough faith and devotion to spend so much of their time and money creating pieces that—although beautiful—were not necessities. The role of religion in art actually began during the Byzantine era. During this time, all artwork was religious in nature, and most of it was done in a consistently similar style so that figures from the Bible could be easily recognized by everyone and so that people had a consistent view of religious matters. Art during this time was largely iconic, meant to inspire the awe of God in the viewer. Along with various versions of the crucifix, one of the most popular images of the Byzantine style was The Pantokrator, an image of Jesus Christ as shown from above. An example of one of these pieces was done in the twelfth century in the abbey church of Monreale in the city of Palermo. Jesus is a monumental figure that takes up much of the space across the apse of the Church. One of his hands forms a mudra as the other holds the scripture. His fully frontal and direct stance along with the glimmering gold background serves to strike awe and fear into the viewer. Clearly this piece was done with the intent to impress the value and mightiness of religion first and attention to the detail and technique of the art second.
Piero della Francesca presented an iconic image of the Renaissance in Italy in his own way, highlighting the two most important idols of the Catholic church, Jesus Christ and the Virgin Mary. Through oil paint, he connected sacred biblical meanings into his own masterpiece. He devoted Christ to portray him in a scene of blessing with his surroundings and other holy figures. The Madonna and Child with Two Angels (Senigallia Madonna), is a piece created with such emphasized meaning and such divinity of the holy, Jesus Christ and his mother the Virgin Mary.
The Edict of Milan, issued in 313 AD, opened the way for people in the Roman Empire to practice the Christian religion. With this edict of religious toleration came the right for Christians to worship openly. They also regained possession of their places of worship and all of the contents associated with these religious buildings. Not only did this allow freedom for Christians to worship openly, but they were also given the opportunity to have influence in the government and private sector of the Roman Empire. The far reaching effects of Christian influence around the world are still seen today.
The original basilica, built by Emperor Constantine in the fourth century, is the foundation to this building. To those of the Christian faith, this building is the epitome of belief. St Peter’s Basilica is where the Catholic faith starts.
The San Vitale is primarily built of brick with a marble and mosaic interior. The ground plan consists of a octagonal organization with a central dome supported by a tall cylindrical drum. Separated by clerestory windows, is a dome in a concentric form of clay tubed rings and seven curved exedras connected to vaulted semi domes. At the main entrance of this chapel is a narthax making it off access from the adjustment apsidal chapels. On either side of the narthax is two projecting towers, one being a spiral stair tower and the other a bell tower. Connecting the central dome area and the ambulatory is 8 strong masonry pillars. The outer prism incorporates two levels of galleries with eccentric mosaics from floor to ceiling. Whether marble or mosaic stone, the monument fills t...
After the Edict of Milan was established, towns went under a slow transformation. Although it continued to focus of urban life, many temples were slowly replaced by Christian buildings. The Emperor highly encouraged Christian art and architecture. Theodosius I, the last Roman Emperor, acknowledged Christianity as the state religion in 380. Art was no longer created secretly underground or hidden inside of churches; it could be displayed openly in front of the public. For the first time, several basilicas were built openly for Christian worship and inside those basilicas, paintings and mosaics of biblical stories were created to be viewed publicly. The Edict of Milan made the Roman Empire become a huge contributor to Christian art and architecture and it created an tremendous revolution in history.
The Pieta as a master piece of work is an art sculpture of Michelangelo located within the Vatican City inside St. Peter’s Basilica and where as is described by to Fisher, it is not possible to see it from outside (2007). Made from only one piece of white marble from Carrara, it was created for the period of the years 1498 and 1499 taking two years to its completion. Among the greater variety of works by this artist, it is the first that was worked on bearing the same theme of pain and redemption combined with beauty s the final product. It is also the only one that bears his signature on the diagonal ribbon across Mary’s chest. Pieta ...