ROME.
In the capital of the country is St. Peter’s, the most magnificent building of fully developed Renaissance. Beamanti, a Florentine, was the architect, to whom the task of designing a cathedral to surpass any thing existing in Europe, was committed by Pope Julius II. The project had been entertained, and architects worked at it fifty years before; but nothing satisfactory was done. A new design was now made, and the first stone laid by the pope in 1506. Beamanti died in seven years, and six architects, in succession, of whom Raphael was one, proceeded with the work, without advancing it rapidly, for nearly half a century, during which the design was again and again modified.
In 1646 Michael Angelo was appointed architect, and the last eighteen years of his life were spent in carrying on the great work. He completed the magnificent dome in all its essential parts, and left the church in plan a Greek cross, i. e., one in which all the four arms are equal, and the dome at the crossing. The boast is attributed to him that he would “Take the dome of the Pantheon and hang it in the air.” And this he virtually accomplished in the dome of St. Peter’s; a work of the greatest beauty of design and boldness of construction. Unfortunately for the symmetry of the structure, the nave was subsequently lengthened, the existing portico built, and Bernini added the vast fore-court, lined by colonnades, which now forms the approach, and sadly obstructs the view. The exterior, seen from the front, is disappointing. The façade is so lofty, and advances so far in front as to quite hide the lower part of the dome.
To have an idea of the building, as Michael Angelo designed it, it is necessary to go round to the back; and there, with the height and contour of the dome fully seen, all its lines of living force carrying the eye with them up to the elegant stone lantern that crowns the summit, some conception of the hugeness and symmetry of this mountain of art seems to dawn on the mind. But, from the best point of view, it is with the utmost difficulty one can apply any scale of measurement to what, by its vastness and perfection, is bewildering. The interior is most impressive. The arrangements are simple. Passing the vast vestibule, there is the nave of four bays, with two side aisles, and an immense central space, over which hangs the great dome. There are transepts and a choir, each with one bay, and an apse; and there are two side chapels.
Since this largest church in the world is divided into so few parts, all of these must be of colossal dimensions. The piers are wonderful masses of masonry, while the spaces spanned by the lofty arches and vaults are prodigious. There is no sense of mystery felt about the interior. The eye at once grasps it as a whole, but hours must be spent before an adequate idea of its gigantic size is at all possible. The beauty of coloring adds wonderfully to the effect. The interior of the dome especially, and the drum on which it rests, are decorated in color throughout, in excellent taste. The designs are simple, the light to show them is ample; and though so rich, there is no impression of excessive decoration. The connection between the dome and the rest of the building seems admirable; and the spectator standing under its soaring vault has an impression of vastness made by no other work of art.
In England the new order was introduced with a longer transition period. For a generation or more the style was mixed. In many instances the main lines are Gothic, while the details are partly Gothic and partly modified Renaissance. This is true of such buildings as Knowle, Penshurst, Hardwick, Hatfield, and many others.
England has churches that take rank among the best in Europe, especially St. Paul’s, London, which has a world-wide celebrity as second only to St. Peter’s. It falls short of its great rival in size and internal effect; being almost wholly devoid of the artistic decoration, in which St. Peter’s is so rich. But the exterior is far finer, and the building is consistent with itself throughout. The plan of St. Paul’s is a Latin cross, with well marked transepts, a large portico, and two towers at the west entrance. An apse of small size forms the end of the eastern arm, and of each of the transepts; a great dome covers the crossing. The cathedral has a crypt raising the main floor considerably, and its side walls are carried high above the aisle roofs, so as to hide the clere-story windows from sight. A great dome, planted on eight piers, covers the crossing. The skill with which the dome is made the central feature of a pyramidal composition, whatever be the point of view; the great beauty of the circular colonnade immediately below the dome; the elegant outline of the western towers, and the unusual but successful distribution of the great porticos, are among the most noteworthy elements which give a charm to this very successful exterior. But no verbal description can adequately present its excellence; nor will the reader be fully satisfied with the meager account here given.
[B] In the present article on Gothic architecture the outline of the excellent text-book by T. Roger Smith has been followed, but the extracts have been abridged to the utmost limit that is consistent with clearness in the presentation.
