Abstract This paper discusses SaintPeter's Cathedral, situated in the Vatican, Italy. SaintPeter's Cathedral, also known as the Basilica of SaintPeter, stands in what was once the Circus of Nero in Rome, where SaintPeter was crucified in 61 A.D. In around 200 A.D., an altar was constructed at the site and SaintPeter'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)."
Abstract This paper analyzes "The Denial of SaintPeter" by the Dutch artist Hendrick Terbrugghen. The author focuses on the artist's use of line, color, light and dark, area, texture, perspective, volume and assesses their effectiveness.
Abstract This paper explains that the Basilica of SaintPeter in Rome reflects the acts of SaintPeter, 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 SaintPeter is one of the most significant icons of the New Testament. The paper notes that the first Basilica of SaintPeter, 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 SaintPeter'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:
SaintPeter's Profile
The Deeds of SaintPeter SaintPeter's Burial
History of SaintPeter's Basilica Architecture of SaintPeter's Basilica The Deeds of SaintPeter 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."
Abstract This paper describes the rule of Peter the Great who, after spending time in the Western European powers of England and Holland in 1697-98, returned to Russia with the sole intent on Westernising and modernising his nation. The paper describes how, by creating a new capital, introducing reforms in government, military, economy and much more, Peter the Great emerged as a new kind of Russian ruler, aiming to achieve what his predecessors could not -revolutionising his state so it would be equal with the rest of Europe. The paper also discusses how not all the modifications that Peter the Great made were accepted by the conservative Russian people and that many did not last and were ultimately unsuccessful.
From the Paper "Peter the Great imposed many new reforms on the institutions of his nation and he began with the military, which he saw as the force that would bring Russia to the forefront of Europe. In 1700, the army faced an embarrassing defeat at the Battle of Narva against Sweden. After this, Peter was obsessed with modernising the military along western lines. To create this modern army he devised a new recruiting system where each year one conscript had to come from one in every twenty tax-paying households. In the last twenty-five years of his reign, this secured Peter 280,000 soldiers. For this militia the principles of meritocracy were enforced strictly. Supplied with modern weapons and generals from abroad, the Russian army was in the best position it had ever been, with the largest army in Europe. For most of his reign Peter was at war and so there was an ever-increasing need for revenue to fund his military."
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 " . . ."
Abstract This paper examines how in novels "On the Road" and "Saint Maybe", by Jack Kerouac and Anne Tyler, the authors stress upon life as a set of experiences and how these build a person. It shows how Jack Kerouac's characters go flying off randomly along the twisted contours of their lives in his autobiographical epic "On the Road". In contrast, it also looks at how Anne Tyler in her novel, "Saint Maybe" shows "ordinary" people and their ordinary lives. She displays the fact that people in this world are only human and are hence bound to make mistakes, yet they struggle to survive with the attempt to work out the problems they face in relationships and communication.
From the Paper "The journey of the seventeen-year-old protagonist, Ian Bedloe, begins when he doesn't imagine the consequences of his actions. He suspects there is more to Lucy's past and to the problems of her present, than either Danny or the rest of the family has acknowledged. And one night, when Ian's plans for a romantic evening with his girlfriend-indeed, it is the night he plans to lose his virginity-are disrupted by having to baby-sit Lucy's children longer than he was supposed to, Ian becomes enraged. And so, on the way home, Ian tells his brother what he suspects about Lucy, and also mentions that the daughter, for whom Danny abandoned his studies to marry Lucy, is not his child. In disbelief and horror, Danny commits suicide by driving his car into a wall."
Abstract In this article, the writer argues that although Portia's nature is perceived as saintly and kind, in truth she is a sinner. The writer maintains that while she conceals her sinister nature, portraying herself as God's gift to mankind, having no access to her free will, she utilizes her wit and therefore reveals her true nature as a sinner. The writer further maintains that, even though Portia is portrayed in a saint like manner throughout the play, underneath her facade lies a resentful, indignant Portia, explicitly concerned with the idea of free will. The writer concludes that Portia struggles with the fact that she is unable to choose her own husband, must act accordingly, concealing her genuine nature and must disguise herself as a gentleman to employ her intelligence.
From the Paper "While Bassanio claims his love for this renowned maiden, there is no indication that he has ever met her. Therefore, one must assume that Portia's reputation as virtuous, demure, honorable and desired, made way throughout the immediate area of Venice. Must Portia present herself as virtuous and desirable in order to fulfill her father's legacy? Will she reveal her genuine rebellious nature once she is claimed by a suitor?
"In honor of her father, Portia stays true to her legacy and willingly gives herself up to any suitor who correctly chooses the casket that holds her portrait. Even for the sake of Bassanio, the suitor she fancies, Portia would not break her oath. This is very honorable of her. However, Portia's true incentive is to present herself as a virtuous and righteous woman. In the secrecy of her home, she mocks the suitors, all of whom are foreigners; an immature manner of rebelling against her legacy."
Abstract This paper states that Monet achieves the style of Impressionism through his knowledge of color theory, the physiology of the eye, the science of optics and the nature of light. When viewing Terrace at Saint-Adresse, one gets an impression or visual sensation of the spontaneous light and color of the moment, by using bright, concentrated dabs of color and examining the effects that light on human visual perception.
From the Paper "The most basic elements of a painting are line, shape, light, texture and color, while the most basic elements of composition are centrality, symmetry, asymmetry and balance. Claude Monet's Terrace at Saint-Adresse c.1866 represented a revolutionary approach to the basic elements of painting of his time. Contrary to the popular technical style of Realism, or painting a historically important scene using realistic and smooth strokes to depict fixed details, Monet's painting is an expression of the immediate and ephemeral attributes of nature. When one experiences Terrace at Saint-Adresse, the viewer gets an impression, a visual sensation of the spontaneous light and color of the moment."
Abstract This paper analyzes the framing of the film "Household Saints." It explores the narrative and characters of the film. It discusses Nacny Savoca's direction and the film's use of Catholic guilt. The author concludes the film is poor compared to the novel from which it was adapted.
From the Paper ""Household Saints" is a filmed version of the novel by Francine Prose. The film begins with a family picnic somewhere on Long Island ,we think and the tale is told by the old-timers who relate the story of Jo's ..."
Abstract This paper describes Raphael's famous painting "Madonna and Child Enthroned with Saints." The paper provides a history of the painting. The author analyzes its composition and colors as well as the conservative style of the painting and its classical details.
From the Paper "Rafaello Sanzio, known as Raphael, painted the "Madonna and Child Enthroned with Saints" early in his career The painting was an altarpiece executed for the small Franciscan convent of Saint Antonio de Padova in Perugia and hung in the part of the church reserved for the worship of nuns. (Metropolitan Museum of Art) Also known as the Colonna Madonna or Altarpiece, a reference to Raphael's patrons, the powerful Colonna family the work consists of two main sections..."
Tags: Raphael, Madonna and Child Enthroned with Saints
Abstract "Saints in Exile: The Holiness-Pentecostal Experience in African-American Religion and Culture" was written by Cheryl J. Sanders and published by Oxford University Press in 1996. The author is Associate Professor of Christian Ethics at the Howard University School of Divinity, and Associate Pastor for Leadership Development at the Third Street Church of God in Washington D.C. This paper introduces, discusses and analyzes Sanders' book, explaining that the primary focus of the book is the thematic importance of exile in the development of the Sanctified Church.
Abstract In this article, an analysis of sections of the New Testament is provided. In this analysis, the writer demonstrates that the role played by Peter the Apostle in the work and for Christianity is one of primacy. The writer explains that this is due to Peter representing the primary model of Christian faith and behavior.
From the Paper "In the New Testament, Peter the Apostle is one of the most significant of Jesus' twelve apostles. Simon ben Jonah is Peter's original name but when Jesus encountered Simon and his brother fishing, he said Thou art Simon the son of Jona thou shalt be called Cephas, which is interpreted Peter. There are numerous mentions of Peter, later Saint Peter, during his apostolic life in the New Testament Gospels and Acts. It is in ... "
Abstract This paper explores horror actor Peter Cushing's ancestral ties with Sir Henry Irving, the great English stage actor and Bram Stoker, the author of Dracula, in the context of the English stage and Irving's tours of America, from 1881 to 1889. It examines Bram Stoker's work in April of 1912, that used a new medium of artistic expression and brought Stoker his posthumous fame--the motion picture industry which catapulted Stoker's Gothic novel to the darkest realms of cinematic exploitation and created a new cultural icon in the form of a blood-sucking, malevolent human monster known as Count Dracula.
From the Paper "While Ellen Terry and Henry Irving enjoyed some days of quiet and peace in the privacy of their drawing-rooms and staterooms, the rest of the (touring) company, the tons of scenery, the hundreds of costumes, the 1,200 wigs, the small-part actors, the supers and Bram Stoker, were sailing to America in a slow boat called The City of Rome." Although this quote from Madeleine Bingham's 1978 biography Henry Irving and the Victorian Theatre seems at first glance rather superficial, two specific points deserve closer examination--first, Henry Irving, the legendary British thespian, the Sir Laurence Olivier of his time, who dominated the English stage for more than thirty years and was the first actor to be knighted 1, and actress Ellen Terry, his longtime leading lady, must have thought of themselves as blue-blood royalty, due to sailing to America from Liverpool in October of 1883 aboard the luxurious steamship Britannic on their first U.S. tour; and second, as the remainder of the company trudged along on that "slow boat" The City of Rome, Irving's business manager, the Dublin-born Bram Stoker, apparently was not considered as deserving of better quarters during the long voyage across the Atlantic to the theatrical citadel of New York City. However, this may have been in Stoker's favor, for it is quite possible while separated from Irving's manic desire for control that Stoker retreated to his conjoined cabin ( No. 100, a few steps from the promenade bar 2 ) and took pen in hand to scribble in a "dogeared notebook (with) hieroglyphical entries in thick, half-obliterated pencil," 3 more notes concerning his ten years of research into the occultic sciences."
Abstract A paper which introduces and discusses how Michelangelo takes the humanistic and natural beauty from the Greeks concerning perfect physical humans and nudity and transforms his work for the Christian era. A brief overview of Michelangelo's childhood is also included.
From the Paper "Consistently, his work began to show more and more influences from more ancient works. While he was often ridiculed because he was not following current trends, he persisted in his own views. He memorized certain classic poses, and used them for most of his works. The David is an example of one of his works that uses a classic pose to make it seem more strong and powerful. "He no longer considered the work of art as an imitation of visible reality, nor as the image of a dream world, nor as a means of arriving at knowledge of the universe, but as an embodiment of the very essence of human life and destiny. In this vision of the cosmic law of life in man, he relates himself to the wisdom of ancient Italy" (De Tolnay 64)."
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."
