These pictures are from chapter 20 I would like you to talk about (20-35)picture
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These pictures are from chapter 20 I would like you to talk about (20-35)picture
20-35 Michelangelo ST PETE1564: dome PETER'S BASILICA, VATI c. 1546-1564; dome completed 1 Giacomo della Porta; lantern 15 View from the west 1590-1593. Abandoning the clearly organized medieval conception of the above the altar, is the gaping, fiery entrance to hell, towan which Last Judgment, in which the saved are neatly separated from the Charon, the ferryman of the dead to the underworld, propels his g swarm of resurected craft. The painting was long interpreted as a grim and constant Christs right side), the dead are dragged from reminder to celebrants of the Mass-the pope and his cardinals- their graves and pushed up into a vortex of figures around Christ, that ultimately they too would face stern judgment at the end of who wields his arm like a sword of justice. The shrinking Virgin time. Conservative clergy criticized the painting for its frank under Christ's raised right arm represents a change from Gothic nudity, and after Michelangelo's death they ordered bits of drapery tradition, where she had sat enthroned beside, and equal in size to, to be added by artist Daniele da Volterra to conceal the offending damned, Michelangelo painted a writhin humanity, At left (on ber son. To the right of Christs fee is St. Bartholomew, who in arceas, earning Daniele the unfortunate nickname I1 Braghettone have painted his own distorted Another of Paul II's ambitions was to complete the new s egend was martyred by being skinned alive. He holds his fayed ("breeches painter") in, face. Despite the efforts of several saints to Peter's, a project that had been under way for 40 years (see "St. Peters the last minute, the damned are plunged toward hell Basilica" page 651). Michelangelo was well aware of the work the right, leaving the elect and still-unjudged in a dazed, almostdone by his predecessors--from Bramante to Raphael to Antonio atur hending state. On the lowest level of the mural, right da Sangallo the Younger. The 71-year-old sculptor, confident of his CHAPTER 20 SIXTEENTH-CENTURY ART IN ITALYExplanation / Answer
The Saint Peter's Basilica, is the famous Roman Catholic Church in the world, dating back to Roman architecture of the early Christian art period. The construction of the begun in 1506 to 1626 and is admired for its Renaissance sculpture as well as its fusion of Renaissance and Baroque architecture, design, construction and decoration of St. Peter's involved the greatest Old masters of the day.
The church was inextricably linked with fine arts of architecture for basilicas, churches, cathedrals, abbeys like Cluny, sculptures -both reliefs and statue and painting - altarpiece panels and monumental works. It has decorative arts like staines glasa in Gothic Cathedrals and tapestry art, mural painting in Sistine chapel, illuminated manuscripts, minature paintings, mosaic art and icon-painting.
Saint Peter's is built out of travertine stone and ia 452 feet high, 730 feet in length and 500 feet in width and interior length of 693 feet.
Inside the basilica is cruciform in shape, with an eloganted nave in the form of Latin cross. The nave is framed by wide aisles giving access to no. Of chapels.
The interiors contains sculptures like Pieta and Baroque sculpture made of marble and bronze. Also contains papal tombs like Tomb of Pope Leo XI ornamented by marbles statues and reliefs.
Saint Peter's is approached via St.Peter's square, an elliptical forecourt encircled by Doric colonnade. It ends at the facade of Saint Peter's which is 376 feet wide and 150 feet high. Facade features gaint order of Cornthian columns and is topped by Christ flanked by 11 Apostles and one Baptist. At ground level, it is guarded by two high statues of Saint Peter and Paul. The dome is the tallest in the world and dominates the skyline of Rome.
The layout of St. Peter's square in the manner of theatre, with the square as the auditorium ans the facade of the basilica as the stage. Based on the architecture of classical antiquity, an elliptical space surrounds fourfold rows of columns adorned with figurea of 96 saints. A smaller square, the Piazza Retta adjoins the greater square.
The artistry, architectural grandeur and Sheer mass of St.Peter's Basilica reaffirmed the status of Rome as spiritual home of Christianity.
In the sculptural masterpiece Pieta, Mary cradles her dead son forming a stable triangular composition and Mary is sculpted in a larger scale than the dead Christ to give the Central figure more significance visually.
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