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1、建筑学专业英语翻译S. Peters, Rome (begun 1506. consecrated I626) (pp. 868C. 870, 871, 902C, 905), the largest and most important building of the Renaissance, owes the nucleus 0f its design to Bramante, although many other architects were to work on it. It was Julius IIs whim to install a colossal tomb for hi
2、mself in the choir (begun by Nicholas V, c. J 450) that precipitated the decision to rebuild the ancient basilica completely. Bramante made several variant designs for the new building, but all envisaged that directly above the tomb of S. Peter would rise an enormous dome of roughly the same size as
3、 the Pantheons, supported upon four massive crossing piers. The so-called Parchment Plan (Uffizi. Florence) and the foundation medal of 1506 show a Greek-cross plan within a square, with four subsidiary domes, lowers at the corner,and half-domes terminating each of the four arms, Such a design is th
4、e realisation of the theoretical preference for centralised planning, but also derives from such esteemed funerary churches as S, Marks, Venice as well as ancient mausolea. Despite its size however, the Greek-cross plan would not have covered the site of the old basilica, nor would it have suited co
5、ngregational or processional needs: ultimately a Latin cross with an extended eastern arm was preferred (p, 871Gg) Bramantes building would have had a relatively severe exterior, depending for its effect on the hierarchical massing of geometric forms (rather like his earlier project for Pavia Cathed
6、ral). The dome, known both from the modal and form a woodcut in Serlios treatise, was to be a single-shelled hemisphere, presumably made of concrete and with a stepped profile derived from the Pantheon; it would have been raised up on a colonnaded drum and surmounted by a lantern (p. 870B). For the
7、interior of the building Bramante intended to use paired Corinthian pilasters supported on tall pedestals (the flour level was later raised by Sangallo). His highly original and influential chamfered crossing piers, although later much enlarged, still survive in the completed building, enabling the
8、nave and transepts to widen at the crossing and giving a smooth transition between pier and pendentive. In general, Bramantes sculptural approach to piers and wall mass. inspired by Roman architecture, represents a new spatial conception of great importance. After the death of Julius (1513). Leo X a
9、ppointed Fra Giocondo and the ageing Giuliano da Sangallo as co-architects, but on Bramantes own demise (1514) it was Raphael who became architect-in-chief. At this period numerous proposals were made for the continuation of the building. Raphaels own design was a Latin cross retaining many of Brama
10、ntes ideas including file dome, although the crossing piers were enlarged. Raphael proposed the addition of ambulatories around the ends of the three short arms of the cross, and intended the building to have a monumental porticoed facade, with a giant order interlocking with smaller orders, between
11、 elaborate towers. At Raphaels death (1520), Antonio da Sangallo the younger was elevated to architect-in-chief, assisted by Peruzzi. Peruzzi proposed many designs, including a return to the Greek cross idea, but Sangallos final model, commissioned in 1539. is essentially a revision and expansion of
12、 Raphaels design. The Sangallo scheme (p.87OD,G) has been much abused following Michelangelos condemnation of its German qualities and lack of light. The apparent lack of unity in the model would have been offset in execution by the very scale of the building, complemented by the massing of so many
13、parts. The western region of the model (liturgical cast end) is a Greek cross with three ambulatories, but the plan becomes a Latin cross by the addition of a subsidiary domed link connecting with the facade block. Between the towers the close-packed articulation of the two-storey facade projects at
14、 the main portal with an unprecedented plasticity. When Michelangelo was appointed as Sangallos successor in 1546 he embarked on a radically new project involving the demolition of the Raphael/ Sangallo southern anbulatory. By Michelangelos death (1564), his project was all but realised, and his des
15、igns for the dome were essentially followed afterwards. Michelangelos S Peters, claimed to be a restoration of Bramantes, is in fact a reduced and simplified Greek cross (p. 870F) ingeniously formed from the nucleus inherited from Sangallo, The abolition of the ambulatories created a much better lit
16、 and more unified interior a greatly reduced cost. The external walls are articulated with rhythmically spaced giant Corinthian pilasters, laid over unmoulded vertical strips. By splaying the re-entrant angles the pilaster wall skirts the building like a giant curtain. Above an attic, concealing muc
17、h of the vaulting, rises Michelangelos majestic dome (built by Giacomo della Porta, 1588-91) which has a drum buttressed by paired attached columns, continuing up into external ribs on the dome surface, and further paired columns in the lantern. The pointed profile of the dome (although rather steep
18、er than Michelangelo intended) recalls Florence Cathedral, as does its double-shelled method of brick construction. This allows the outer shell to rise much higher than the inner, forming with the four subsidiary domes a pyramidal composition the unity of which is enhanced by the verticality of all
19、the external articulation. With its crown-like lantern the building rises to 137.5m (451 ft). Thus, despite the reduction in scale, Michelangelos building is still enormous- the dome is 42 m (138 ft) in diameter, only 1.5 m less than the Pantheon. Michelangelos design was continued by Vignola (appoi
20、nted 1564), Ligofio (1565), Giacomo della Porta (1572) and Domenico Fontana (1585). Carlo Maderno lengthened the nave, converting the church into a Latin cross (building length 194m. 63bft) (p. 871G) and designing his own facade (1606-12), which, although continuing Michelangelos giant order, looks
21、back to the designs of Raphael and Sangallo. Madernos extension unavoidably conceals much of Michelangelos dome even from Berninis piazza (q.v.). The sumptuous internal decoration was largely carried out in the seventeenth century under Bemini, who succeeded Maderno as architect-in-chief in 1629. Also by Bernini is the famous bronze baldacchino (1624-33) over S. Peters tomb, and the spectacular Cathedra Petri (1656-65), filling the western apse and housing the supposed throne of the apostle.
