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Lädt ... St. Peter'svon Keith Miller
![]() Keine Keine aktuelle Diskussion zu diesem Buch. I picked up this volume on a whim in a Rome bookstore the day after I visited St Peter's for the first time, and read it on the plane home to Canada. This is the first time I've read anything by Miller, and anything from the Wonders of the World series, and I have to say I love the concept. The mix of history, aesthetic & cultural analysis, and personal observation really appeals to me. Each chapter constitutes another widely-informed lecture on a particular aspect of the cathedral, and I feel that I learned something interesting from each one. A good example is the chapter about the Basilica's shrine of St Peter and the claim that his bones were found in a tomb beneath it. I had previous read Michael Grant's _Saint Peter_, which is consider to be a pretty authoritative historical biography, but this book has a much better, more illuminating, more detailed account of how this belief came to be held and propagated. I rather wish I'd read this book beforehand, but I will definitely have it tucked under one arm the next time I visit St Peter's in Rome. Zeige 2 von 2 keine Rezensionen | Rezension hinzufügen
Gehört zu VerlagsreihenWonders of the World - Profile Books (2012-3)
Read the Bldg Blog interview with Mary Beard about the Wonders of the World series (Part I and Part II) Built by the decree of Constantine, rebuilt by some of the most distinguished architects in Renaissance Italy, emulated by Hitler's architect in his vision for Germania, immortalized on film by Fellini, and fictionalized by a modern American bestseller, St. Peter's is the most easily recognizable church in the world. This book is a cultural history of one of the most significant structures in the West. It bears the imprint of Bramante, Raphael, Michelangelo, Bernini, and Canova. For Grand Tourists of the eighteenth century, St. Peter's exemplified the sublime. It continues to fascinate visitors today and appears globally as a familiar symbol of the papacy and of the Catholic Church itself. The church was first built in the fourth century on what is thought to be the tomb of Peter--the rock upon which Christ decreed his church shall be built. After twelve hundred years, the church was largely demolished and rebuilt in the sixteenth century when it came to acquire its present-day form. St. Peter's awes the visitor by its gigantic proportions, creating a city within itself. It is the mother church, the womb from which churches around the world have taken inspiration. This book covers the social, political, and architectural history of the church from the fourth century to the present. From the threshold, to the subterranean Roman necropolis, to the dizzying heights of the dome, this book provides rare perspectives and contexts for understanding the shape and significance of the most illustrious church in the world. Keine Bibliotheksbeschreibungen gefunden. |
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![]() GenresMelvil Decimal System (DDC)726.509456The arts Architecture Buildings for religious and related purposes Churches History, geographic treatment, biography EuropeKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:![]()
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I cannot say I exactly follow all the details Miller explains, and perhaps I got a little bogged down with the elaborate burials in the crypt and reconstructions of the possible or probably location for the burial of the first pope, but I did stick with it.
There are occasional observations that make this a delicious read. Pg. 110: "Marble is carnal stuff. Often it looks less like stone than food. Melted and churned by intense volcanic heat..." and later, pg. 114; "...gleaming marble surfaces of mottled reds and fatty whites give parts of the interior a weirdly anatomical character, as if the visitor were Jonah, cast into the belly of a giant fish...."
And as I have had a Catholic education (and partly under the Jesuits, no less) I was a little concerned I might argue with the author about the history of The Church, but found the book's focus was mostly elsewhere. There is some sly humor as well. Discussing the Stuart monument by Canova, Miller comments on the two carved "ephebic youths who were partly draped...but whose heavy, epicene bottoms still seem to carry a slightly heavier patina than the rest of the monument, as if many classically inclined visitors had drawn a dreamy finger across them in some private ritual down the years" [ p. 161].
This is a great introduction or reacquaintance to a great architectural monument, and I look forward to more books in this series if they are written with the same informative and enlightened outlook. (