|December 11th, 2011, 05:21 PM||#1|
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St. Paul's Cathedral, London
The cathedral of London, dedicated to Paul the apostle, was originally built in ca 886, at the top of the Ludgate hill, which is the highest point in the city of London.
The episcopal see was actually founded as early as 604, but it is unclear if and where the original cathedral was built. The area within the still existing Roman walls was not inhabited at that point, as the Anglo-Saxon Lundenwic was located further west.
The church on Ludgate hill was destroyed in 962 due to fire. It is assumed that the church was built in wood. The next cathedral was begun in 962, possibly in stone. However, this structure also succumbed to fire, in 1087.
A Norman style cathedral was begun shortly after the fire, and it is this structure, though heavily modified, which was destroyed in the famous fire of 1666. The new church was completed in 1314. In the meantime, work was delayed by another fire in 1135.
The choir, added in the 1250s, was in the gothic style. The nave and transepts however, were Romanesque and initially built with a timber roof.
Once completed, the cathedral attained a full length of 178 metres. The central spire reached the height of 149 metres in the years 1444 to 1561. Always vulnerable to lightening strikes, no further efforts to rebuild the spire were to take place after that year.
Inigo Jones, the man credited as the first English architect to introduce classical architecture to Britain, produced a proposal for a re-design of the cathedralís west front in 1620.
The cathedral had been in bad shape since Elizabethan times, but funds were not immediately available. In 1634, however, Jones was appointed surveyor of a commission to repair St. Paulís.
Jones restored the gothic choir without alterations, but encased the rest of the structure in rusticated masonry. The biggest change was at the west front, where Jones added a 10-column wide portico capped by statues, no pediment. The model for this was probably Palladioís drawings of the Roman temple of the Sun and Moon, now believed to have been dedicated to Venus and Rome. The right tower originally belonged to the adjacent church of St. Gregory by St. Paulís. The left tower was added for symmetry, and both were encased in masonry as the rest of the cathedral.
Jones travelled to Italy and became a follower of Andrea Palladio. At the same time, he got the opportunity to study Roman ruins directly. What is noteworthy in the case of Jones is that he rejected modern architectural trends (mannerism/baroque) in favour of a relatively pure classical style, approximating ancient Roman models. This tendency had a profound impact on 18th century English architecture and also decided the basic theme for Christopher Wrenís cathedral.
Jonesí restoration work was interrupted by the civil war and the church received further rough treatment during the conflict by the parliamentary forces. In 1663, a new commission was set up to undertake the restoration. Three individual assessments were solicited, including one by Christopher Wren.
The weakest point of the structure was the central tower. Wren, therefore, proposed to tear it down and replace it with a tall dome over the crossing. The design of the dome seems to have been inspired by Bramanteís proposed dome for St. Peterís, known to Wren through drawings. There are also some signs of French influence. Paris is the only foreign city Wren visited. The strange looking pineapple thing on top seems to have been part of the effort to maintain height. The rest of the structure was to be encased in masonry, ďafter the good Roman mannerĒ, on the same lines as Jonesí project. Wrenís proposal was agreed in principle in August 1666. Only six days later, the great fire of London began to burn.
In 1668, the cathedral was naturally in a more perilous state than ever. However, the hope in that year was still to retain the nave. Wren was initially, therefore, only instructed to demolish the choir and central tower. Only after parts of the nave collapsed in April were the authorities persuaded to build an entirely new church.
Wren produced several drawings in the period leading up to the Great Model in 1673. He seems to have experimented with two basic outlines: One scheme, which Wren gradually rejected, kept the outline of the old church and was fairly similar to the 1666 proposal, with a domed space above the crossing and the rest of the church in Roman masonry. Wren also seems to have wanted to keep the west front portico by Jones. The second scheme introduced the Greek cross plan, and is what Wren eventually came to favour. Designs for this usually have a new portico in the west, with a pediment this time, and a large dome over the central space. The precedent for this outline comes from Bramanteís and/or Michelangeloís plans for St. Peterís Basilica, especially the latter. Interestingly, Wren who was familiar with French architecture looked to Roman models for his grand temple. Most likely, this is due to the influence of Jones and architectural treatises, though Wren would also have witnessed a shift to classical lines in Paris (ex: the Collonnade of the Louvre).
Wren produced several drawings but the Great Model shows the project at its most mature stage. The exterior and interior has a Corinthian order, as does the portico, and the large dome resembles Sangalloís design for St. Peterís. Unlike previous drawings, there is a domed vestibule in the west, which gives the model the outward appearance of being directional. The pediments at the transepts are broken by arches, adding a touch of mannerism. The model was made by the joiner William Cleere.
However, the Greek plan was rejected by church authorities. In the warrant design that Wren produced and got approved in 1675, he, therefore, reverted to a directional Latin Cross plan. The warrant design appears to be an attempt to reconcile classical elements with the outline of what an English public might expect of a cathedral: more height for the body of the building and an imposing tower and spire.
The result looked very strange, and Wren began to revise his plans as soon construction began. However, the concept of combining classical features with patterns borrowed from gothic churches remained.
The first change was to reintroduce the dome. However, this caused some difficulties, because it had too be tall enough to meet the expectations for a London landmark, yet not so large as to overwhelm the relatively small body of the building itself. It can be seen from the Great Model how this might look awkward.
The solution was to raise the second storey introduced in the warrant design and build a screen wall around the entirety of the structure. This also had the added advantage of hiding away flying buttresses. This is why the external walls of St. Paulís do not recede inwards at the level of the clerestory. The west front portico was elevated to two levels and towers were introduced to hide the sham wall. Difficulties with lighting the interior through two external walls seem to have been effectively overcome.
It was also around 1675 that Wren redesigned the transept elevations, with huge circular porticos. To this would later be added broken pediments and pilasters decorated with strips of garlands, showing signs of both French and Italian baroque architecture.
The penultimate design of 1675 conforms approximately to the finished result. However, two elements were still in development, the western towers and the dome.
In 1683, Wren seems to have experimented with French designs, resembling closely the domes of Mansart and Lemercier. However, by the time construction of the dome began in 1700, he had switched to what is essentially Bramanteís Tempietto on a massive scale. Wren filled in every fourth inter-columnation with an empty niche to retain harmony. The difference this produces can be seen by comparing with the Pantheon in Paris where no such expedient is used.
The dome has three shells, one semi-circular seen from the interior (in brickwork), one cone-shaped to support the weight of the lantern (also in brickwork), and one outer wood and lead structure to give the external silhouette.
For the towers, Wren moved in the opposite direction, away from the classical simplicity of Bramante towards a baroque complexity similar in style to Borromini.
The cathedral was structurally complete in 1709. Some of the later work was done without the authorisation of Wren. He was dismissed from his post in 1718 in a Churchill-like vote of no confidence.
|December 11th, 2011, 05:46 PM||#2|
Join Date: Aug 2006
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Some images taken by me:
Upper storey portico and pediment. The double storey portico was used in Roman times and Eglise des invalides was built during the same time as Wren's portico, but as far as I am aware, this is the first example of this in modern times.
Circular porch (North transept), compare with Pietro della Cortona's Sta Maria della Pace in Rome.
Ground floor window
Second floor Bramantesque aedicule window, Compare with Bramante's house of Raphael (It was demolished a long time ago, but elevations have been preserved)
First floor Borrominiesque windowframe in false perspective, tower, west front. Compare with palazzo Barberini in Rome
Second floor, aedicule.
Tower, compare with Borromini's Sant'Agnese in Agone
Dome, compare with Bramante's Tempietto and with the later Pantheon dome by Soufflot
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