The basilica-plan of structure construction is as fundamental to understanding
western expression as the post-and-lintel system or hieratic scale. Christian
houses of worship would be based on the basilica template, as represented by the
Basilica Ulpia, for over a millennium.
In fact, the Basilica Ulpia is built
on the massive, colossal scale present in the Roman DNA and takes its place
with other constructs of monumental Roman achievement such as the Flavian Amphitheatre and Pantheon.
The Basilica Ulpia is based on simplified and elegant geometric constituents: tiles, colonnades, arcades, coffers and entablatures. The nave ran along the long axis of the rectangular plan: 385 by 182 feet. Visitors entered through one of the many entrances running along the length of the wider dimension. Unfortunately, this monumental construction has not survived, and we only have accounts and its foundations as a record.
White marble and gleaming tile would nearly blind a visitor on a clear day at noon, the clerestory (or possibly gallery) allowing daylight and a constant flow of fresh air to flood the space. The upper level would have covered the aisles and allowed for the surrounding achievement structures to be seen from within. The ceiling, something often overlooked, was one of the remarkable achievements of the Basilica Ulpia. Constructed of weight-relieving timber spanning as much as 80 feet, it housed a cavernous space that was consistent with the elegant, simple beauty of the interior.
The purpose of the basilica was to serve as a court of law. Unlike Christian adaptations of the plan, this example was bracketed by apses on both ends of the wide dimension which would house the judges. Christian plans would remove the perpendicularly-oriented entrances from the aisles and swap one apse for a narthex which served as the new entrance. This realignment of traffic and access would place full focus on the remaining apse, which would continue to house the focus of the proceedings.
The Basilica Ulpia is based on simplified and elegant geometric constituents: tiles, colonnades, arcades, coffers and entablatures. The nave ran along the long axis of the rectangular plan: 385 by 182 feet. Visitors entered through one of the many entrances running along the length of the wider dimension. Unfortunately, this monumental construction has not survived, and we only have accounts and its foundations as a record.
White marble and gleaming tile would nearly blind a visitor on a clear day at noon, the clerestory (or possibly gallery) allowing daylight and a constant flow of fresh air to flood the space. The upper level would have covered the aisles and allowed for the surrounding achievement structures to be seen from within. The ceiling, something often overlooked, was one of the remarkable achievements of the Basilica Ulpia. Constructed of weight-relieving timber spanning as much as 80 feet, it housed a cavernous space that was consistent with the elegant, simple beauty of the interior.
The purpose of the basilica was to serve as a court of law. Unlike Christian adaptations of the plan, this example was bracketed by apses on both ends of the wide dimension which would house the judges. Christian plans would remove the perpendicularly-oriented entrances from the aisles and swap one apse for a narthex which served as the new entrance. This realignment of traffic and access would place full focus on the remaining apse, which would continue to house the focus of the proceedings.
Dictators are defined by massive and fragile egos that require recognition for greatness regardless of whether this demand is justified. In the case of Trajan, the monuments and praise are justified. He clearly had the best intentions of the state in his heart: He expanded the breadth of Rome’s borders its greatest extent, commissioned civic development and beautification of the capital and oversaw a period of remarkable peace, excepting the wars of expansion he initiated or continued, of course.
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