Romanesque Architecture Essays - Church Architecture, Basilica, Nave

Romanesque Architecture THE BASILICA AND BASILICAN CHURCHES A great deal of conjecture has been expended on the question as to the genesis of the Roman basilica. For present purposes it may be sufficient to observe that the addition of aisles to the nave was so manifest a convenience that it might not improbably have been thought of, even had models not been at hand in the civic buildings of the Empire. The most suitable example that can be chosen as typical of the Roman basilica of the age of Constantine is the church of S. Maria Maggiore. And this, not merely because, in spite of certain modern alterations, it has kept in the main its original features, but also because it departs, to a lesser extent than any other extant example, from the classical ideal. The lateral colonnade is immediately surmounted by a horizontal entablature, with architrave, frieze, and cornice all complete. The monolithic columns, with their capitals, are, moreover, homogenous, and have been cut for their position, instead of being like those of so many early Christian churches, the more or less incongruous and heterogeneous spoils of older and non-Christian edifices. Of this church, in its original form, no one however decidedly his tastes may incline to some more highly developed system or style of architecture will call in question the stately and majestic beauty. The general effect is that of a vast perspective of lines of noble columns, carrying the eye forward to the altar, which, with its civory or canopy, forms so conspicuous an object, standing, framed, as it mere, within the arch of the terminal apse, which forms its immediate and appropriate background. S. Maria Maggiore is considerably smaller than were any of the other three chief basilicas of Rome (St Peter's, St. Paul's, and the Lateran). Each of these, in addition to a nave of greater length and breadth, was furnished (as may still be seen in the restored St Paul's) with a double aisle. This, however, was an advantage which was not unattended with a serious drawback from a purely esthetic point of view. For a great space of blank wall intervening between the top of the lateral colonnade and the clerestory windows was of necessity required in order to give support to the penthouse roof of the double aisle. And it is curious, to say the least, that it should not have occurred to the builders of those three basilicas to utilize a portion of the space thus enclosed, and at the same time to lighten the burden of the wall above the colonnade, by constructing a gallery above the inner aisle. It is true, of course, that such a gallery is found in the church of S. Agnese, where the low-level of the floor relatively to the surface of the ground outside may have suggested this method of construction; but whereas, in the East, the provision of a gallery (used as a gynaeceum) was usual from very early times, it never became otherwise than exceptional in the West. Taking East and West together, we find among early and medieval basilican churches examples of all the combinations that are possible in the arrangement of aisles and galleries. They are the single aisle without gallery, which is, of course, the commonest type of all; the double aisle without gallery, as in the three great Roman basilicas; the single aisle with gallery, as in S. Agnese; the double aisle with single gallery, as in St. Demetrius at Thessalonica; and finally, as a crowning example, though of a later period, the double aisle surmounted by a double gallery, as in the Duomo at Pisa. These, however, are modifications in the general design of the building. Others, not less important, though they are less obviously striking, concern the details of the construction. Of these the first was the substitution of the arch for the horizontal entablature, and the second that of the pillar of masonry for the monolithic column. The former change, which had already come into operation in the first basilica of St. Paul without the Walls, was so obviously in the nature of an improvement in point of stability that it is no matter for surprise that it should have been almost. universally adopted. Colonnaded and arcaded basilicas, as we may call them, for the most part older than the eleventh century, are to be found in the most widely distant regions, from Syria to Spain, and from Sicily to Saxony; and the lack of examples in Southern France is probably due

How to add cool graphics to your LinkedIn Profile!

How to add cool graphics to your LinkedIn Profile! Have you always wondered how some people got really cool graphics into their LinkedIn Profiles? Is it magic? No, it’s easy! All you need is your character map. â€Å"What’s my character map?† you may ask. If you are a mac user, I refer you to this forum. If you are a Mac user, I refer you to this list of how to insert special characters. Apple provides this help page as well for inserting emojis, accented letters, and other symbols into documents. If you are a PC user, go to your start menu and start typing character map into the search box. Or, if you dont have a search box because of an odd technical situation (not that I know from experience about this.. ehhemm) you can click on All Programs, then the Accessories Folder, then System Tools, then Character Map. Heres what youll see once you enter the character map: Choose the symbol you want to insert into your profile and double click on it. The symbol will appear in the Characters to copy box: Using this feature, you can insert foreign language alphabets, bullets of many varieties, and any other symbols that strike your fancy. You will then be able to create profiles that look like these (click to see full profiles): Another trick is to insert a line across the page for emphasis. Lines take up 40 characters but I think they’re worth it. The easiest way to create a line in your profile is to copy one from someone else’s profile. You can also use arrow instead of bullets. Heres what it looks like: Using a combination of graphic highlights, you can make your profile â€Å"pop† in a way that everyone else’s does not. In my opinion, it’s worth putting a bit of effort into any strategy that will keep people interested in reading past the first glance. Graphics can do that! Have you used graphics in your profile in creative way? You are invited to share what you’ve done in the comments below!