Abstract
This paper describes the history and significance St. Mark's Basilica. This church is a major architectural and historical "anchor" of Venice, Italy. It details the church's unique architecture, and gives an historical account of how it was built and by whom. It provides an in-depth description of the church, interior and exterior, and also provides excerpts from stories and myths concerning the church.

From the Paper
"It's a given fact that countless great cathedrals, monasteries, and other holy places have been built over the ages as a testament to man's devotion to God. In point of even more practical fact, that devotion was often tempered and blended with a generous portion of servitude to one's feudal lord as well, with the unspoken incentive that one got to keep one's property, position, or even one's life if one gave good service . . . and if one did not, well, things may not go as well as one would hope! But St. Mark's Basilica in Venice, Italy, may well have an additional distinction of its own not only as a sign of devotion to God, but as an edifice that stands uniquely in itself as a visual means of atonement for sin, an effort at retribution for what might well be termed a "divine crime " . . ."

Tags:St., Mark's, Basilica, cathedrals, monasteries, holy, God, Venice, Italy, church

Abstract
This paper explains that the Basilica of Saint Peter in Rome reflects the acts of Saint Peter, serves as a model for all the great Churches in Italy and provides a deep historical and religious framework for Christianity. The author points out that Saint Peter is one of the most significant icons of the New Testament. The paper notes that the first Basilica of Saint Peter, finalized in 324 and which was designed in the form of a cross, became worn through the ages and reconstruction was inevitable. The author explains that reconstruction of the new Saint Peter's Basilica, begun in 1503, involved Donato Bramante, who implemented a Greek style cross design, followed by Antonio da Sangallo, who added the Baroque features to the interior, Michelangelo, who contributed his awesome dome, and Bernini, who designed in 1667 the square directly outside the Basilica.

Table of Contents:
Saint Peter's Profile
The Deeds of Saint Peter
Saint Peter's Burial
History of Saint Peter's Basilica
Architecture of Saint Peter's Basilica
The Deeds of Saint Peter Reflected in Architecture

From the Paper
"Jesus christened Peter with the name, Cephas. In translation, Cephas means 'The Rock'. The inference of this name clearly describes the role that Saint Peter played as a primary leader during Jesus' life. As a disciple, Peter witnessed a great deal of miracles and promoted the salvation of Christianity through example. Along with apostles James and John, Saint Peter remained close to Jesus and advised him on many issues. Peter was present for many of Jesus' trials and miracles, documented as the main apostle at Jesus' transfiguration, the revival of Jairus's daughter from the dead and the Agony of the Garden of Gathsemane."

Tags:sacrifices, humanitarian, burial, righteousness, chastity

Abstract
The world-renowned St. Peter's Basilica in Vatican City is today seen not only as the preeminent symbol of the power and wealth of the Roman Catholic Church, but also as a classic example of Renaissance design in architecture. In this paper we will attempt to show how the overall design of St. Peter's Basilica embodies the basic spirit of Renaissance humanism, the main driving philosophy of the era.

From the Paper
Outline: Renaissance Humanist Influence in St. Peter's Basilica I Intro - Thesis statement In this paper we will attempt to show how the overall design of St. Peter's Basilica embodies the basic spirit of Renaissance humanism, the main driving philosophy of the era. II Explanation of Philosophy to be discussed The fundamental tenets of Renaissance humanism included an emphasis on returning to original sources of inspiration from the Classical world, but reinterpreting them for a modern (15^th century) world (Abbagnano, Brotton)

Tags:renaissance, michelangelo, humanism

Abstract
The paper details the history of Saint Peter, the deeds of Saint Peter, the History of the development of the Church and its reconstruction during the Renaissance. The paper is supported by sources and very little analysis deviates from the topic at hand. The final section chooses to describe the architecture that represents Saint Peter's deeds.

From the Paper
"The Roman Catholic Church is filled with history and reveres the founding fathers of the Church in Rome. Of the Twelve Apostles of Jesus Christ, Saint Peter proved to be the most influential in the creation and expansion of Catholic Christianity. Moreover, the deeds of Saint Peter are the most documented more than any other of the Twelve Disciples, and his legacy and influence can be found in Jerusalem and Italy. Moreover, the acts of Saint Peter have set a precedent for the great architectural phenomena that can be found all over Rome. The Basilica of Saint Peter in Rome serves as a model for all the great Churches in Italy, and provides a ..."

Tags:saint, peter, basilica, architecture

Abstract
This paper identifies and examines the three main basilicas in the Forum Romanum: Aemilia, Julia and Sempronia. The paper presents them as massive structures, generally rectangular in shape with two or more semi-circular apses or recesses. The paper explains how these basilicas were highly illuminated through the use of clerestory windows, usually greatly elevated and above the roof itself. The paper contends that in these beautiful structures, one can easily sense the Roman desire for broad, uninterrupted architectural spaces enclosed for the convenience of human transaction. The paper also explains the importance of the basilicas to the citizens of Rome, as they provided a place to meet, to converse and to witness the majesty of imperial Rome on a daily basis.

From the Paper
"During the Republican period in ancient Rome, most buildings were constructed as the need arose and were designed to serve public utility or the religious and commemorative needs of the State. And within the vast complex known as the city of Rome, the Forum Romanum served as the center of political life; it was also a place where the Roman Senate met at regular intervals and where the citizens of Rome could behold public spectacles, banquets and gladiatorial contests (Dudley, p. 48).
Thus, the Forum Romanum was, in many respects, the heart of things in ancient Rome, the administrative and social center of the city whose magnificent buildings were constructed over the site of the earliest settlements (Arnott, p. 17). In essence, the Forum Romanum was the galactic hub of Rome and allowed all of the citizens to participate in the daily activities of the city and to socialize with friends, family and, at times, enemies."

Tags:aemilia, julia, sempronia

Abstract
This paper is on artwork during the renaissance period having to do with the catholic church and other religious structures. The writer opens the piece with a look at how one could approach the subject of Ecclesiastic art, this to help provide the complete worldview of such pieces of art. Then, the paper moves on to discuss the Building of St. Peter's by providing an analysis and context for the construction of the ideal forms it was meant to propagate. A similar discussion follows for the Sistine Chapel and then the Tempietto. The paper concludes that the artist's work within each structure is representative of the struggle between man and god, which may also be a representation of the artist struggling against the world.

Outline:
Introduction
The Building of St. Peter's
The Sistine Chapel
St. Peter's Dome
The Tempietto San Pietro: A Miniature St. Peter's
Conclusion

From the Paper
"As old St. Peter's was beginning to crumble through centuries of neglect, Julius II gave orders that it be torn down and replaced, rather than be repaired. The new basilica represented; therefore, as much a break with tradition as its continuation. The pope desired a structure that would be even larger and grander than the old, and one which give graphic to the power and splendor of the Catholic Church. The greatest architects and artists of the time would create the plans for the basilica and contribute to its decoration. Both Michelangelo and Raphael were leading figures of the art world of the early Sixteenth Century. Michelangelo would work on the frescos of the Sistine Chapel, with Raphael contributing a set of tapestries. Michelangelo, Raphael, and also Bramante, would wrangle over St. Peter's final architectural form, each suggesting and fine tuning specific aspects of the finished structure. Numerous other artists and architects also contributed to the finished basilica. It is thus a tribute to the greatest artistic minds of the age, a work that includes many works, and stands as a symbol of great technical skill fused with extraordinary beauty. Within its overall harmonies, one may read the Biblical history of the Cosmos, together with the story of the Church and the political world. A monument as much to the popes as to God, St. Peter's is a story in stone, marble, paint, and various precious and semi-precious materials. Out of a contest of very human wills was born a testament to worldly ambition and talent coupled with divine faith."

Tags:art, art history, michelangelo, catholic church, St. Peter's basilica, pope

From the Paper
"The Basilica of Saint Peter


Saint Peter's Church, Basilica of St. Peter, is the largest church in the world; located in the Vatican, Rome, over the grave of Peter the Apostle; has 29 alters in addition to the high alter. Interior length, 615 ft; width at front, 87 ft; length of transept 450 ft. First consecrated in 326 A.D.; rebuilt with many changes in plans, among which was Bramante's, which was later changed from a Greek cross to a Latin cross ground plan. After 1547, construction was under the direction of Michelangelo, who designed the dome, which has a diameter of 138 ft and a height of 404 ft to the top of the lantern; consecrated in 1626.
Hagia Sophia, is an outstanding example of Byzantine architecture (Constantinople); originally built as a church by..."

Abstract
This paper examines how the Baroque period was an age of allegory and how from palaces to pictures, works of art told a story or imparted a message. Popular themes included the life of man or themes that showed humanity's place in a still divinely-ordered cosmos. The paper provides a tour of Baroque art and architecture by looking at such exhibits as the French palace of Versailles, the throne of St. Peter at St. Peter's Basilica in the Vatican, the paintings "Annunciation" by Giovanni Lanfranco, "Las Meninas" by Diego Velazquez and the sculpture "Vanitas" by Pieter Claesz. Pictures of the works are also provided.

From the Paper
"An excellent place to being our tour of the Baroque is with the French palace of Versailles. Built by Louis XIV over a period of nearly fifty years in the latter part of the Seventeenth Century and the Early Eighteenth, it is a model in stone and brick of the ideals of the Baroque age. [Pretend there is a model of Versailles] The palace, or chateau as it is called in French, was meant as a visible symbol of the king's place at the junction of the human and divine realms. A world in microcosm, it showed the king at the apex of human society while at the same time representing him in natural and transcendent terms. The king is the "sun king," and like the sun, he is the center of the solar system - a new idea in the Baroque, and an example of the influence scientific discovery was beginning to have on European civilization. The sun is represented symbolically throughout the palace, and the state apartments are arranged in a series that is named after the planets. "

Tags:Versailles, St., Peter's, Basilica, Vanitas, Las, Meninas, Annunciation

Abstract
This paper discusses Saint Peter's Cathedral, situated in the Vatican, Italy. Saint Peter's Cathedral, also known as the Basilica of Saint Peter, stands in what was once the Circus of Nero in Rome, where Saint Peter was crucified in 61 A.D. In around 200 A.D., an altar was constructed at the site and Saint Peter's body was buried beneath it. It examines its architecture and history, the way it was, the way it has changed over time and the way it is today. It looks at how it serves as the home church for the Pope and is a glowing testament to the art and architecture of the Renaissance, one of the most influential periods in world culture.

From the Paper
"Saint Peter's contributed to the art world in many ways. Artists were in great demand to paint the many walls and ceilings, and contribute to art works to be placed in the cathedral, so many artists were kept busy in Italy during the time, thereby increasing the awareness and employment in the arts. There are also many mosaics is the church, so a wide variety of artisans were kept busy for decades decorating the massive structure. Art flourished during the Renaissance, and Saint Peter's kept artisans busy, and helped them develop new methods for their crafts, as Michelangelo did when he created the iron beam system to support the massive concrete dome (Editors)."

Tags:Rome, Basilica

Abstract
The paper takes a close look at the differences between two of Michelangelo's most acclaimed Pietas: the Vatican Pieta found in Saint Peter's Basilica and the Florentine Pieta found at the sculptor's tomb. The paper studies the difference in technique and intent in the two works. The paper also examines the social and atmospheric changes during the sixty years between the Pietas.

From the Paper
"In "Swan Songs," an academic article on art and the aging process, scholar and critic Steven Kellman observes that Solomon, the Biblical ruler and writer of old wrote the "Song of Songs" in lusty youth, "Proverbs" in prudent middle age and "Ecclesiastes" as the mellow fruit of his final years. If ancient Solomon had verily believed that all is vanity, he would never have bothered to lift quill to vellum. Yet tradition says that he did magnificently, in an autumnal way, if only to bemoan the futility of it all. Of making books there is no end, laments "Ecclesiastes," but many of the brightest books are made in sight of the finish line (Kellman 111). So, too, can we see this autumnal, end-of-life spark and sparkle in the sculptures of the not-so-ancient Michelangelo Buonarotti."

Tags:michelangelo, pieta, sculpture