In a multi-nave basilica, the naves are separated by longitudinal rows of columns or pillars, with independent coverings. The central nave, usually wider and taller, is illuminated by the windows of the second tier. In the absence of windows in the second tier of the central nave, the building belongs to the type pseudobasilica, which is a kind of hall temple.

The most significant Roman Catholic churches are also called basilicas, regardless of their architectural design. For the religious meaning of the term, see basilica (title).

ancient roman basilicas

The Romans adopted this type of structure from the Greeks. The earliest known examples are the Basilica of Portia (184 BC) and the Basilica of Aemilia (179 BC). Under Caesar, the construction of the Basilica of Julius (54 BC) was begun, completed under Augustus. In these public buildings, lawsuits were held, financial issues were resolved, and trade was carried out. Civil assemblies took refuge in the basilicas from the weather.

Basilica-type construction was also carried out in other cities of Italy and the Roman provinces. So, in 120 BC. e. a monumental basilica was erected in Pompeii. It was badly damaged by an earthquake in 62, and by the time of the eruption of Vesuvius (in 79), it had not been restored. This is the oldest basilica, the ruins of which have survived to this day.

In the 4th century, the basilica, which had previously occupied a rather peripheral place in ancient architecture, became a favorite type of Constantinian architecture. Early basilicas were covered with wooden flat roofs. A well-preserved example Aula Palatina in Trier (310). The first stone-vaulted basilica is the colossal Basilica of Maxentius in the Roman Forum (306-312).

Early Christian basilicas

The earliest churches known today, specially built for Christian worship, corresponded to the type of Roman basilica, for it did not have persistent associations with paganism. The type of basilica is the most common type of Christian temple of the 4th-6th centuries and the main type of spatial composition of longitudinal Christian churches in subsequent centuries.

Unlike their pagan predecessors, early Christian architects emphasized the longitudinal elongation of the basilica from the apse in the east to the entrance (narthex) in the west. The axial composition was emphasized by parallel rows of columns between the naves, over which arches were built. Ceilings were usually coffered.

Further evolution

A return to the idea of ​​an ancient basilica was preached by some eclectic architects of the 19th century; an example is the Basilica of Saint Martin in Tours. In the United States, the German Church in the Pennsylvania town of McKeesport, consecrated in 1888, is considered the most accurate approximation to the Roman basilica. There is not a single basilica of the classical type on the territory of Russia (although such buildings were built in Chersonese in the Byzantine era).

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Notes

Links

• in the Orthodox Encyclopedia
• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Article "" in the encyclopedia "Round the World".

An excerpt characterizing the Basilica

- From what? Julie said. – Do you really think that there is a danger to Moscow?
- Why are you going?
- I? That's strange. I'm going because ... well, because everyone is going, and then I'm not John d "Arc and not an Amazon.
- Well, yes, yes, give me more rags.
- If he manages to conduct business, he can pay all the debts, - the militia went on about Rostov.
– Kind old man, but very pauvre sire [bad]. And why do they live here for so long? They have long wanted to go to the village. Natalie seems to be well now? Julie asked Pierre with a sly smile.
“They are waiting for a younger son,” said Pierre. - He entered the Obolensky Cossacks and went to Belaya Tserkov. A regiment is formed there. And now they have transferred him to my regiment and are waiting every day. The count has long wanted to go, but the countess will never agree to leave Moscow until her son arrives.
- I saw them the third day at the Arkharovs. Natalie got prettier and happier again. She sang one romance. How easy it is for some people!
- What's going on? Pierre asked indignantly. Julie smiled.
“You know, Count, that knights like you only exist in the novels of Madame Suza.
What knight? From what? – blushing, asked Pierre.
- Well, come on, dear count, c "est la fable de tout Moscou. Je vous admire, ma parole d" honneur. [All Moscow knows this. Really, I'm surprised at you.]
- Fine! Fine! the militiaman said.
- OK then. You can't say how boring!
- Qu "est ce qui est la fable de tout Moscou? [What does all of Moscow know?] - Pierre said angrily, getting up.
- Come on, Count. You know!
“I don’t know anything,” said Pierre.
- I know that you were friendly with Natalie, and therefore ... No, I am always friendly with Vera. Cette chere Vera! [That sweet Vera!]
- Non, madame, [No, madam.] - Pierre continued in an unhappy tone. - I did not take on the role of the knight of Rostov at all, and I have not been with them for almost a month. But I don't understand cruelty...
- Qui s "excuse - s" accuse, [Whoever apologizes, he blames himself.] - Julie said smiling and waving lint, and in order for her to have the last word, she immediately changed the conversation. - What is it like, I found out today: poor Marie Volkonskaya arrived in Moscow yesterday. Did you hear she lost her father?
- Really! Where is she? I would very much like to see her,” said Pierre.
“I spent the evening with her last night. Today or tomorrow morning she is going to the suburbs with her nephew.
- Well, how is she? Pierre said.
Nothing, sad. But do you know who saved her? It's a whole novel. Nicholas Rostov. She was surrounded, they wanted to kill her, her people were wounded. He rushed and saved her...
“Another novel,” said the militiaman. - Decisively, this general flight is made so that all the old brides get married. Catiche is one, Princess Bolkonskaya is another.
“You know that I really think she is un petit peu amoureuse du jeune homme. [slightly in love with the young man.]
- Fine! Fine! Fine!
- But how can I say it in Russian? ..

When Pierre returned home, he was served two posters of Rostopchin brought that day.
The first said that the rumor that Count Rastopchin was forbidden to leave Moscow was unfair and that, on the contrary, Count Rostopchin was glad that ladies and merchant wives were leaving Moscow. “Less fear, less news,” the poster said, “but I answer with my life that there will be no villain in Moscow.” These words for the first time clearly showed Pierre that the French would be in Moscow. The second poster said that our main apartment is in Vyazma, that Count Wittgsstein defeated the French, but that since many residents want to arm themselves, there are weapons prepared in the arsenal for them: sabers, pistols, guns, which residents can get at a cheap price. The tone of the posters was no longer as playful as in Chigirin's previous conversations. Pierre thought about these posters. Obviously, that terrible thundercloud, which he called upon with all the forces of his soul, and which at the same time aroused involuntary horror in him, - obviously, this cloud was approaching.
“To enter the military service and go to the army or wait? - Pierre asked himself this question for the hundredth time. He took a deck of cards lying on his table and began to play solitaire.
“If this solitaire comes out,” he said to himself, mixing the deck, holding it in his hand and looking up, “if it comes out, then it means ... what does it mean? .. - He did not have time to decide what it means, when a voice the eldest princess, asking if it is possible to enter.
“Then it will mean that I have to go to the army,” Pierre finished to himself. “Come in, come in,” he added, turning to the princes.
(One older princess, with a long waist and a petrified lead, continued to live in Pierre's house; two younger ones got married.)
“Forgive me, mon cousin, that I came to you,” she said in a reproachfully agitated voice. “After all, we must finally decide on something!” What will it be? Everyone has left Moscow, and the people are rioting. What are we left with?
“On the contrary, everything seems to be going well, ma cousine,” said Pierre with that habit of playfulness that Pierre, who always embarrassedly endured his role as a benefactor in front of the princess, learned to himself in relation to her.
- Yes, it's safe ... good well-being! Today Varvara Ivanovna told me how different our troops are. Certainly an honor to ascribe. Yes, and the people completely rebelled, they stop listening; my girl and she became rude. So soon they will beat us. You can't walk on the streets. And most importantly, today the French will be here tomorrow, what can we expect! I ask one thing, mon cousin, - said the princess, - order me to be taken to Petersburg: whatever I am, but I cannot live under Bonaparte power.
“Come on, ma cousine, where do you get your information from?” Against…
“I will not submit to your Napoleon. Others, as they wish ... If you do not want to do this ...
- Yes, I will, I will order now.
The princess, apparently, was annoyed that there was no one to be angry with. She, whispering something, sat down on a chair.
“But you are being misreported,” said Pierre. Everything is quiet in the city, and there is no danger. So I was reading now ... - Pierre showed the posters to the princess. - The count writes that he answers with his life that the enemy will not be in Moscow.
“Ah, this count of yours,” the princess spoke with malice, “this is a hypocrite, a villain who himself set the people to rebel. Didn't he write in these stupid posters that whatever it was, drag him by the crest to the exit (and how stupid)! Whoever takes, he says, honor and glory. That's where he messed up. Varvara Ivanovna said that she almost killed her people because she spoke French ...

Basilica in Paestum. Ser. 6th c. BC e.

basilica

Plan of the Basilica at Pompeii.

It is in the same way an oblong building, the length of which is almost three times its width, only inside it there are not four, but two rows of columns, which divide it into only three naves. On one of the narrow sides of its colonnade there are five entrances, and on the opposite side there is an elevation, or bandstand, for judges, which replaces the apse. There is a very good reason to believe that the middle nave of this basilica was higher than the side ones. It was founded in the 1st century BC and soon rebuilt after a fire by the architect M. Artorius.

These two basilicas undoubtedly had a horizontal, beamed, so-called architraveal covering, that is, a flat ceiling, as in our current homes.

Plan of the basilica with a transept (indicated by arrows).

This article or section uses the text of the Great Soviet Encyclopedia.

It remains to make a brief outline of the Basilica of Constantine, which is located in Rome opposite the Palatine Hill, near the forum, approximately on the line of buildings located on its northern side. Its plan is a rectangle rather similar in shape to a square, the length of which is 43 sazhens, and the width is 33 sazhens. Its long side faces the Palatine and has an entrance in the middle on this side. It is divided by four huge pylons (pillars supporting the vaults) into three very wide naves; the lateral two are lower and covered with barrel vaults; medium, having about 10 soots. wide, was covered with three colossal cross vaults; it was illuminated by triple windows located above the roof of the side aisles. Opposite the main entrance from the side of the Palatine Hill, in the opposite wall, there is a semicircular apse; in the same way, on the short right (counting from the main entrance) side, the entrance is located opposite the central nave, and opposite it, at the end of the same nave, there is also an apse. Quite a lot of data lead us to believe that this battle was begun by Maxentius, ended after his defeat by Constantine the Great in the 3rd-4th centuries. after R. X. and named Konstantinova. The skeleton of its northern part is still quite well preserved and its colossality still makes an overwhelming impression.

Basilica. Left - cross section, right - plan.

Now summing up the various data obtained by examining the remains of Roman B. that have come down to us, we can come to the following conclusions: 1) that these were large oblong buildings that were located near city squares, 2) that they were divided by several rows of columns for an odd number of spans , or naves, of which the middle one was the widest and highest, 3) that the side aisles were two-story galleries, and that they were covered in the early era with beams, and later with vaults, 4) that they always had an apse, or platform for the court. For greater clarity, we add that the internal structure of B. is very reminiscent of the main halls of the St. Petersburg and Moscow noble assembly, well known to the inhabitants of our capitals: the hall itself is the middle nave; the aisles behind the columns and the choirs are the two-tiered galleries of the side aisles, and the stage for the musicians is the tribune of judges; the hall is illuminated by the upper windows, that is, the windows located at the top of the middle nave, in the wall above the columns.

Let us now turn to the purpose of all these parts: in basilicas consul or praetor orally dismantled the lawsuits of Roman citizens, and the middle usually served as a place of judgment, and the side parts were occupied by local lawyers(legal advisers) who were consulted during court hearings. There they tried their hand and the ability to speak preparing for the bar. In the apse, usually covered with a hemispherical vault, a judicial tribunal(elevation with several steps for climbing and a curule chair), where the consul or praetor sat. There was enough space in front of the tribunal for the public who came to sue. Secretaries ( scribae ) sat at a distance, on the sides of the tribunal, and it was possible to pass to them along the side naves, without crowding the crowd into B. As for the inner life of ancient Roman B., Boissier gives an excellent picture of it in his “Promenades archeologiques” (Par., g. ) when describing Yulieva B. “From it remained,” he says, “a marble platform, which rises above the level of adjacent streets and covers an area of ​​4,500 square meters. meter. (about 2100 sq. sazhen). Following the traces of the columns and pillars that supported the vaults of the building, you can restore its plan. It consisted of a large middle hall intended for judicial administrations, it was so large that four courts were placed in it, which sat either together or separately. The most important civil cases in the state were decided there, and Quintilian, Pliny the Younger and other famous defenders of that time acquired brilliant laurels for themselves here. A double row of porticos surrounded this great hall; they were then a favorite place for walks and entertainment for men and women. No wonder Ovid advises young people to take refuge there from the scorching midday heat: there was such a crowded and diverse crowd! But not only dandies and frivolous adventurers filled the porticos of Yulieva B.; a lot of common people came there, and idlers, and people without work, of which there were so many in this great city, where sovereigns and rich people took care of feeding and entertaining the poor. These people left their marks on the floor of B.: its marble pavement is scratched by many circles and squares, crossed for the most part by straight lines, which subdivided them into separate parts. They served for the Romans as a kind of checkerboards for the game, the passion for which was incredibly developed among these idle people. Not only ordinary citizens played here: Cicero, in his Philippics, speaks of a very important person who, without blushing, played in front of a whole forum. In recent times, the republics tried to suppress this passion by law, but it remained without application, the game continued throughout the entire existence of the empire, and the fresh features that plow the floor of Julieva B. testify that the game went on until the last minutes of ancient Rome. The basilica was quite high: above the first floor of the porticos there was a second, where a staircase led, traces of which are still visible. From this floor the whole area is visible; from here Caligula threw money into the crowd, amused by the fact that the people crush each other. From here it was also possible to see what was going on inside B., and it was possible to follow the speeches of the defenders. Pliny says that when he was conducting one important business, defending the interests of a daughter disinherited by his father, who at the age of eighty was carried away by an intriguer, the crowd was so large that not only filled the whole hall with itself, but even the upper galleries were overflowing with men and women who had come listen to him."

Very curious instructions regarding the construction of basilicas are given by Vitruvius, adding to them a detailed description of the basilica he built in Fanum. According to him, the basilicas were divided into public and private. The first were in the squares (hence the very name of their forenses, that is, areal), and the second - in houses. In addition, some of the latest archaeologists distinguish various kinds of basilicas: for walking, for wine and fur trade, judicial and money changers, although no one usually indicates specific signs of their various arrangements. The commercial value of basilicas is beyond any doubt: setting out his rules for building basilicas, Vitruvius directly demands the greatest convenience for merchants: - “Places for basilicas,” he says, “should be adjacent to the forums and located on a warm (that is, on the south, sunny) side, so that those who trade in them can easily endure bad weather in winter. And that at the same time they served as a place for walking is quite understandable: in this case they are very reminiscent of our passages, which in the same way consist entirely of shops and are often crowded with a walking crowd. Other subdivisions of the bisiliqs indicate only the variety of goods sold in them, and by no means their different arrangement. This is the purpose of public basilicas. Now let's move on to the private ones.

Basilica of St. Sofia in Ohrid. OK. 1037 50, porch with galleries 1317.

Private basilicas were in the houses of the most distinguished citizens and in palaces. “Noble people,” says Vitruvius, “occupying important public positions, should arrange luxurious reception rooms, high atriums, the most magnificent peristyles (see this next), gardens, extensive places for walking, in accordance with their greatness; in addition, libraries, art galleries and basilicas, just as splendidly decorated as public buildings, because in their houses there are often public meetings and a private arbitration court ”; as for the palace basilicas, firstly, their remains were found in the villa of Hadrian near Tivoli, and secondly, in the palace of Domitian on the Palatine Hill in Rome, where the basilica occupies the right, front corner of the palace and has an entrance from the outside, and represents a rectangular hall with an apse at the end opposite the entrance; it was illuminated, probably, by windows located at the top. All its constituent parts are still very easy to distinguish: even a fragment of marble has survived near the apse.

BASILICA [gr. βασίλειον; lat. basilica - royal chamber], in the Hellenistic-Rome. public building intended for meetings; in early Christ. lit-re temple, church; a type of rectangular building, extended in plan, divided by rows of supports into 3 or 5 longitudinal naves, illuminated through windows in the wall of the elevated central nave. The problem of the origin and development of Christ. B. as an architectural type was widely discussed in con. XIX - ser. 20th century Christian experts. archeology and history of church architecture.

Antiquity

The origin of prechrist. B. is associated with the history of the Greek. standing (colonnaded gallery): Strabo (V. III. 8) called Rome. B. "royal standing." Analogues of B. are seen in the hypostyle halls (c. 210 BC on the island of Delos) and the columned throne rooms of Hellenistic Egypt of the Ptolemaic era. Like stands, they were located behind the center (Greek agora, Roman forum) of the policy, but unlike the stands of Rome. B. were designed for meetings inside, not outside the building.

The most ancient bats appeared in Rome in the 2nd century BC. BC: according to Titus Livy (XXXIX.XLIV.7), the first was built by Cato west of the curia and comitium (B. Portia, 184 BC), followed by B. Aemilius (179 . BC) and B. Sempronius (169 BC). Later B. spread in Italy, app. provinces of Europe and North. Africa.

B. rome. eras are different in form and function, mainly business buildings, halls for trade, judicial and other meetings. Civilian B. were built near the forum as a covered continuation (earlier ones are known in Kos, South Etruria, middle of the 2nd century; in Pompeii, ca. 120; Ardea and Alba Fucens, 1st century BC). In the military settlements of the Romans, B. principiorum was built (as the center of the camp, the office and assembly hall; open in many fortifications on the outskirts of the provinces in Europe, Africa and Asia, including in Dura-Europos, end of the 2nd century) and B. for military exercises (exercitatoria). In the palaces of the emperors, B. served as reception halls, and they were built throughout the empire from the Palatine (the palace of Emperor Domitian, mentioned by Plutarch, in Popl. XV) and Tivoli (Hadrian's villa) to Split (the reception hall of the palace of Emperor Diocletian, 300 -306) and Trier (reception hall and New Hall of Emperor Constantine the Great).

B. gradually acquired some religions. functions: the sacred standards of the troops were kept in B. principiorum; B. forums and palaces were closely associated with the veneration of the deified emperor and his family; in many Italian, European and African. In the cities of B. on the forum, it was often placed next to the temple (Italy: Alba Fucens, Velleia, Augusta Bagienorum (Benevagienna); Western Europe: Augusta Raurica (Switzerland), Lugdun Convenarum (Saint-Bertrand-de-Commenges, France), Conimbriga ( Coimbra, Portugal), Northern Africa: Timgad (Algeria), Leptis Magna (Libya)); B. was sometimes used as a religious building of the East. religions (Temple of Serapis in Pergamum (Red B., II century); underground B. I century behind Porta Maggiore in Rome). From the old, pre-Christ. architectural types B. was least associated with pagan cults.

The term "B." in the late imperial period, it was applied to any large covered rectangular hall, regardless of its function, but the architecture of a typical B. is based on stable principles: length, simplicity of construction, illumination through the openings in the walls of the central nave, raised above the arcades separating it from the side aisles. Gradually, the type of hall that was previously characteristic of the term complexes began to be used as a bailey: in these buildings, the vault of the middle nave is supported by transverse wall pylons, and the three-nave structure was preserved in some of them thanks to openings in the middle of these pylons (B. imp. Maxentius and Constantine in Rome, early 4th century). The ceilings of B. were wooden, flat, beam-rafter, sometimes with a hemmed ceiling with caissons (the exception is the B. of the beginning of the 4th century, for example, the emperors Maxentius and Constantine with overlapped vaults), the roof is often tiled. Walls and arches were built of stone or concrete (with brick lining), columns - of marble and granite.

Vitruvius (Book 5. Ch. 1) described 2 types of two-story baileys: with 2 rows of colonnades built on top of each other and with columns to the entire height of the main nave (the bailey, built by Vitruvius in Fana, not earlier than 27 BC. X.). Last from the forum in B., where usually one entrance led, hearings of court cases were transferred (Pompeii, Alba Fucens; under the emperor Trajan (98-117)). In B. imp. Julia in Rome usually sat at the college of centumvirs, listening to civil litigations, which required the introduction of a raised platform (tribunal) for the chairs of the magistrate, usually placed on the opposite side of the entrance, in a special semi-circular apse. However, barns of the imperial time were more often oriented not longitudinally, but transversely and had colonnades around the entire perimeter of the hall (this type was described by Vitruvius).

Early Christian period

B. as a church building appears in the pre-Konstantinov era: the oldest of the specially built church buildings, the temple in Islay (see Elat), approx. 300, had a basilical plan, the orientation of the axis to the east (size 26´ 16 m), a rectangular apse. Mass construction of B. began after the Edict of Milan in 313. Christians introduced new features into the architecture of B., due to the needs of worship and Christ. symbols. The most important of them is a stable axial composition, that is, the longitudinal elongation of the building, emphasized by parallel rows of columns, the accentuation of the ends of the axis, on which the opposite entrance and apse were located. The length was usually emphasized by the courtyard-atrium and the narthex placed on the same axis (a composition that has been known since ancient times in the pre-Christian architecture of the Near East, including in structures close in time, for example, in the large temple of Baalbek). This type of construction corresponded to the ideas of Christians about the structure of the temple: the length symbolized the ship of salvation; the path from the entrance to the altar apse represented the path of salvation; the quadrangular design and the possibility of orientation to the cardinal points corresponded to the concepts of the order of the world order, etc. To the distinctive architectural elements of Christ. B. also includes the widespread use of arches resting on columns (in Roman imperial construction, columns were usually combined with an architrave beam, brick pillars-pylons were built under the arches, although there are exceptions - the palace of Emperor Diocletian in Split).

Building by order of the imp. Constantine and his family are the first major Christ. temples in Rome and in the Holy Land, architects early. 4th century they preferred the basilica type of construction to a traditional, i.e., pagan, temple, since B. was religiously neutral and could accommodate large groups of worshipers; its layout corresponded to the established forms of Christian worship. San Giovanni in Laterano (c. 313-318), a five-nave, single-apse structure strongly elongated in length, and the first cathedral of ap. Peter in Rome (San Pietro) (c. 320-330), also five-aisled, with a transverse articulation (transept) between the nave and the apse, in the middle of which was placed the tomb of the apostle - the compositional center of the temple. In the IV-V centuries. B. often exceeded in size the largest pagan sanctuaries (the length of B. in Lecheon (Greece) is 186 m). The interior decoration was magnificent: marble columns and capitals of complex carving, polished wall cladding, luxurious carpets of mosaic floors and gold-colored wall mosaics. Early B. had a free orientation, their apses were often directed not to the east, but to the west (the Church of the Holy Sepulcher in Jerusalem, c. 326; the Cathedral of St. Peter, San Giovanni in Laterano and Santa Maria Maggiore in Rome) . B.'s standard plan could vary: so, to the basilica c. Nativity in Bethlehem (before 333), instead of an apse, an octagonal building was added, while B. in Aquileia (4th century) did not have an apse.

The rapid spread of B. in Christ. the world was promoted by the desire to imitate the models proposed by the emperor-customer; relative simplicity and speed of construction; the traditional nature of the design, which allowed covering and illuminating vast spaces; compliance with the basic requirements of early Christ. worship services (capacity, the presence of an altar apse, an elevation of salt and a high place). At the end of the main nave stood out the chancel, or presbytery (see Altarpiece, Choir), separated by a salt balustrade. The narthex, exonarthex, and atrium became stable elements at the entrance to B..

In its infancy, early Christ. B. contained many. elements, after developed and become traditional. for church buildings. In most of the early baileys, the altar apse opened directly into the nave and was separated only by a low barrier; in the very first baileys, which had the character of martyria, a transept appeared. In the 5th century, when additional space was needed for the clergy, the transepts multiplied and made it possible to better organize access to the revered relics: the processions followed, without disturbing the course of the service in the main nave, along the side aisles, which went around the altar from the outside, forming an ambulatory (known in early Roman B., San Sebastiano (312 or 313?) and Sant'Agnese fuori le Mura (c. 350)).

B. developed, reflecting the service and liturgical structure and general changes in architectural forms. Formerly, a small altar part gradually expanded, a sintron, a ciborium over St. an altar standing on a platform-kripid, and other devices for performing the liturgy. Initially, the uniformly extended space received a semantic and constructive center at the intersection of the transept with the main nave. Galleries-choirs began to be erected over the side aisles (there was already in B. the Holy Sepulcher). Gradually, more and more complex in terms of plan and design options were developed for B. (up to 12 main compositions are distinguished, among which are cruciform, supplemented by a narthex, lined with porticos and external atriums, with a transverse transept, etc.). For the early christ. B. was characterized by an extensive path of development - due to the repetition of the same cells or the addition of independent volumes from the outside.

B. dominated as an architectural type in church construction of parish and cathedral churches from the 4th to the 6th centuries. The cessation of the construction of large, luxuriously finished early Christ. B. in the West fell on the period after the collapse of the empire. The rejection of B. as an architectural type also affected the East: in the K-field it occurred already by the middle of the 6th century, however, the first domed churches of the capital were not inferior in size and decoration to B. V - early. 6th century In con. VI-VII century. central-domed churches appeared and Byzantium is practically forgotten, including on the periphery of Byzantium (for example, in Armenia and Georgia). The replacement of longitudinal vaulted compositions with central-domed compositions was not associated here either with political and economic conditions or with changes in church ritual, and was probably dictated by a new liturgical understanding of the temple space.

Nevertheless, the development of banking in the West and East had many similarities, since it was determined by common features for the early Middle Ages. architecture by creative principles: following iconographic patterns (sometimes the same in the East and West, as, for example, the church of the Holy Apostles in the K-field), as well as solving the same problems, for example. the connection in one building of liturgical and symbolic-memorial functions, i.e., the task of connecting B. with the martyrium. But differences in liturgical and cultural traditions and construction conditions led to the fact that the ways and methods of solving similar problems from the 5th century. began to be implemented in different ways, which led to the addition of 2 independent types of Christ. architecture.

Byzantium and the East (VI-XV centuries)

In the IV-VI centuries. to the Byzantine territories in Greece, on the islands of Vost. Mediterranean, in M. Asia and the Middle. In the East, primarily in the Holy Land, a huge number of three-nave (rarely five-nave) barns of standard composition with a narthex, exonarthex, and atrium along the longitudinal axis were erected. However, they already possessed a number of special properties: in the east. parts of Byzantium B., as a rule, were less elongated, they were more often built without a clerestory and covered with a vault (however, keeping the main nave elevated in relation to the side ones); more often they were surrounded by galleries from 3 sides (the church of St. Theodore the Studite in the K-field), supplemented by a narthex and an atrium (the church of Achiropyitos in Thessalonica, 450-470). Among the surviving striking examples of B. - five-nave c. St. Demetrius in Thessalonica, ser. V - early 6th century

From con. 4th century noticeable penetration of B. vost elements. type to the West, primarily to the subject of Byzantium. the influence of Italy. One of the most important samples for Europe. B. of the early Middle Ages became cruciform c. St. Apostles in Milan (San Nazzaro), c. 382, with a long "corridor" nave, crossed by an extended transept and ending in a semicircular apse. This ascendant to c. St. The Apostles in the K-field plan was repeated in an enlarged form in San Simpliciano (Milan), con. 4th century, and in Santa Croce (Ravenna), 1st half. V in., and also in the future was repeatedly used zap. architects. In the three-nave B. Sant'Apollinare Nuovo in Ravenna, which has a standard compositional solution, east. influence is felt in the apse, polygonal in plan, in the proportions of the nave and the organization of openings.

The further development of B. in the East was determined by the main movement of the architectural composition towards the creation of an organically integral church building, combining the properties of 2 spatial structures characteristic of B. and martyrium, in a single domed structure (see Martyrium, Temple, St. Sophia temple in the K-field ). In Byzantium, a type B. was developed with a dome over the intersection of the nave and transept, the so-called. domed B., its early example is c. St. Irina (St. Mir, τῆς Εἰρήνης) in the K-field (after 532; after 740 it was redesigned into the first cross-domed structure in the capital's school of architecture due to the addition of transverse arms). B., typologically close to it, whose duct vaults support the dome from the east and west, were examined in Dere-Ashi, Myra, Ankara, and Vize. In the East, in general, the early variants of connecting a basilica with a domed church, with the dominance of the cross-domed core, are characteristic of Transcaucasia, which did not know Byzantium. domed basilica: it appears already from the 30s. 7th century in Armenia (temples in Bagavan, Mren, Odzun, etc., and in its infancy - in the cross-domed temple of Tekor in the 80s of the 5th century) and in Georgia (Tsromi, Samshvilde).

After the era of iconoclasm, as the traditions of city life weakened, the influence of monasticism grew, and the architecture of parishes and private churches developed, large buildings were gradually pushed aside by more compact buildings with a centric plan. Since the 8th century B. in Byzantium was not the predominant type, and with the development of a temple of the cross-domed type, it finally gave way to its primacy. in the 11th century in the East, B., primarily domed ones, are built mainly for the Byzantine. the periphery (the exception is the church of St. Sophia in Nicaea, c. 1065), in the countries that received Baptism (the three-nave basilica of St. Sophia in Ohrid, the capital of the newly formed Bulgarian kingdom, XI century); in the Caucasus (the monastic cathedrals of Dort-kilise and Parkhal in Taik (Tao), basilica elements in monuments such as the Bagrat temple in Kutaisi, c. 1000).

In the Middle, Late and Post-Byzantine. era type of early Christ. B. is rare. In the XIII century. options are being developed that combine cross-domed and basilic elements. In northern Greece, a three-aisled barn with a cross vault (the central nave is covered by a duct vault and intersected by an elevated transverse vault) became widespread: the monastic churches in Arta Kato-Panagia, 1231-1267/68, and Panagia Blachernitissa, end. XII - beginning. 13th century (3 additional domes were erected in the 2nd half of the 13th century); Porta Panagia near Trikala, 1238. In Mistra in the c. Hodegetria of the monastery of Brontochion, c. 1310-1322, and the monastery of Pantanassa, ca. 1430, combinations of a three-nave basilica with a cross-domed gallery were created. After the fall of the K-field (1453), the simplest one-nave single-apse basilicas with a duct vault in the former. empires continued to be built everywhere. Of the areas most closely associated with the Dnieper Rus, there are many basilica buildings in Chersonese, in the Middle Ages. and late medieval. (Greek and Armenian) the construction of the Crimea. However, among the ancient So far, not a single temple has been discovered, which could be confidently considered B.

Zap. Europe (VI-XII centuries)

Dominance of the early Christs. B. stopped by the end. 6th century in connection with the crisis in the life of cities in the barbarian kingdoms (Visigoth. Spain, Anglo-Saxon England, etc.). There were neither funds nor building artels for the construction of huge balconies, all the more so since the need for the construction of balconies also disappeared, since monasticism played an ever greater role in the life of the Church. Western Christ Plan. B. acquired a functional division: a community gathered in the main nave, the side ones were left for processions heading to the altar apse, separated from the nave not only by a special transverse compartment, the vima, but also by a developed transept.

The place of B. with their vast and unified space was occupied by smaller temples, designed for small groups of worshipers, with a fragmentary interior divided into separate cells. For example, in Spain, the Visigoths modified the B. into centric miniature buildings with a Greek cross plan and side rooms in a short transept (c. in Baños de Serrato, 661); box vaults began to be used in the ceilings, the center of the building could be marked by their intersection (c. San Pedro de la Nave). The construction of such temples was caused not only by Western Europe itself. processes, but also the Byzantium, which had intensified by that time. influence in Spain. Peculiar basilica churches were also built in England (the Kentish group, built before the conversion of the Anglo-Saxons, for example, churches in Reculver, 699, and Bishop Wilfred in Hexham, 672-678, etc.).

However, in the VI-VII centuries. the construction of B. was a rare phenomenon and there was a danger of their complete disappearance as an architectural type. However, in the 2nd half. 8th century one of the most important elements of the Carolingian Renaissance was the revival of the "big form" in architecture. The grandiose construction of cathedrals in cities and monasteries was focused on Rome. tradition and early Christ. shrines, especially those associated with the name of imp. Constantine the Great. Under these conditions, the church was again in demand, and the creation of a new type of basilica church (above all, a monastic one) became the main achievement of Carolingian architecture. In part, they returned to earlier decisions, but the complication of worship, the need for additional altars, and the organization of the worship of relics became the main incentives for the formation of a new type of baptism. B. of the monastery in Fulda (90s of the VIII century - 819) had Rome as a model. the Cathedral of San Pietro: as there, in this church a huge transept separated the west. the apse where the relics of St. Boniface, resulting in the appearance of 2 altar semicircles, in the east and west, and a cloister-atrium to the west. In Saint-Denis, under the influence of Pope Stephen II (753, 755) and the change of the Gallican rite, Rome. a large church was built with a crypt under the altar. B. erected not only in the main, but also in small towns and monasteries (for example, in the mon-re San Vincenzo al Volturno, near Benevento, 808).

The most important innovations in Carolingian B. were supports with a rectangular section for arches, the introduction of contrapsides, the transformation of the transept into an indispensable element of the composition of the temple, and the appearance of a tower above the crossroads. Replacing the columns with pillars-pylons visually united the surface of the wall of the clerestory with the plane of the lower tier - the arches began to resemble openings, which were later decorated with pilasters and columns. The composition, which included 2 apses located along the axis of the temple opposite each other, was known in the early Christ. time and distributed in certain territories (Northern Africa); in the era of the Carolingians, she regained popularity (the plan of the abbey of St. Gallen, c. 830, the cathedral in Cologne, consecrated in 873) and retained it until the end. 11th century (c. Mary Laach, c. 1093). The demand for this composition was due to the peculiarities of Rome. liturgical practice as reflected in the Ordines Romani. However, traditional the plan, which assumed the placement of the main entrance to the temple from the west, subsequently prevailed. The standard component of B. became a transept in several. its varieties: T-shaped, dating back to early Rome. samples (in Fulda and Hersfeld); lowered (martyria churches for the relics of St. Peter and Marcellinus in Steinbach, c. 827, and Seligenstadt, 831); having a four-arch composition in the middle of the cross and dividing into 2 arms (an early example is the church of St. Michael in Hildesheim, 1010-1033). The distribution of the transept had both a liturgical and symbolic character; additional chapels on the wall (c. in Ripoll, Catalonia, 1020-1032), give the temple the shape of a cross, and also clearly emphasize the connection with the early Christ. samples - the Cathedral of San Pietro in Rome, cruciform B. type c. St. Apostles in Milan (382). The tower above the crossroads (the rebuilt Cathedral of Saint-Denis, 755-775; the church of Saint-Germain-des-Pres) made it possible to single out the center of liturgical action inside and in the space of B.. The installation of towers at the contrapsid above the 2nd transept (for example, the abbey of Saint-Riquier, the so-called Centula, Northern France) led to the emergence of a westwerk - a tower on a square base from the end opposite to the altar, where access was provided by 2 side towers with screw stairs (Corvey Abbey in Westphalia, 873-885), which paved the way for the creation of a Romanesque zap. facade with a tower-like portal, a gallery or a chapel above it and 2 flanking towers. The sum of the vertical elements, as well as belfries, wooden roof gables and small forms gave the medieval look. B. verticality, previously uncharacteristic of it. In the Ottonian period in the interior of the Western Christ. B. approved such important elements as the alternation of columns and pylons in the supports of the arcades (c. in Gernrod, XI century) and galleries above the side aisles, the appearance of which was dictated mainly by architectural requirements (the galleries were also used to accommodate additional altars, for singers, etc.).

By the 11th century a new type of plan was formed, where the extended space of B. was divided into many compartments-grasses. The liturgical center of the building, the choir where Mass was celebrated, occupied a special place: separated by a transept, the east. some actively developed, occupying 2 or more compartments; becoming longer and longer, it could reach an incredible length (the choir of Canterbury Cathedral, England, by 1100 had 12 herbs). The increasing role of the altar part was determined by the development of a crypt with relics under it and transepts, and above it, around the main (high) altar, a bypass gallery with 3, 5 or rarely 7 chapels (Clermont-Ferrand Cathedral, c. 960). Radial dispensary with semicircular chapels, as well as chapels in the east. parts of the transepts became the most important feature of Western Christ. B., especially pilgrimage and monastery. They made it possible to place additional altars and many relics, primarily shrines with relics. The outpatient clinic was directly connected with the basilica part of the building, since it was, as it were, a continuation of the side aisles, along which processions could move to the altars of the east. parts of the temple. The side naves were also used to create additional chapels. In the Catholic. B. traditions also call temples, the most significant or important in the history of the Church, from the 16th century. this was secured by a special decision of the Pope; the right to receive the name B. was stipulated in 1917 in the Code of Canon Law of the Roman Catholic Church: “No church can be honored with the title of basilica, except by apostolic permission or according to ancient custom” (Can. 180). There are titles of great and small B. The first (basilicae majores), Patriarchal, are churches under the direct jurisdiction of the pope (in Rome: Lateran, San Pietro, San Paolo fuori le Mura, Santa Maria Maggiore, St. Lawrence; in Assisi : St. Francis). They have a special papal altar, throne and holy gates; they are entitled to special indulgences and other benefits. The title of small B. (basilicae minor) has been conferred by the pope since the 18th century. those churches that the Vatican seeks to distinguish among others; they also have a number of privileges in the field of symbolism and the distribution of indulgences, they celebrate a number of holidays with special solemnity (the Chairs of St. Peter (February 22), the triumph of the Apostles Peter and Paul (June 29), the anniversary of the inauguration of the pope). The status of small churches is lower than that of diocesan cathedrals, but higher than that of ordinary churches.

Lit.: Minoprio A . A Restoration of the Basilica of Constantine // Papers of the British School in Rome. 1932 Vol. 12. P. 1-25; Vitruvius. About architecture: 10 books. L., 1936. Prince. 5. S. 122-130; Krautheimer R. Corpus basilicarum Christianarum Romae. Vat.; N.Y., 1937-1977. Vol. 1-5; idem. Early Christian and Byzantine Architecture. Harmondsworth, 1965, 19864; idem. The Constantinian Basilica // DOP. 1967 Vol. 21. P. 115-140; idem. Studies in Early Christian, Medieval and Renaissance Art. L., 1971; idem. Rome: Profile of a City, 312-1308. Princeton, 1980; Conant K. J. A Brief Commentary on Early Medieval Church Architecture. Baltimore, 1942; idem. Carolingian and Romanesque Architecture, 800-1200. Harmondsworth, 1959, 19784; Grabar A . martirium. P., 1946. Vol. 1-2; Lassus J. Sanctuaires chrétiens de Syrie. P., 1947; Deichmann F. W. Frühchristliche Kirchen in Rom. Basel, 1948; idem. Studien zur Architektur Konstantinopels, im 5. und 6. Jh. nach Christus. Baden-Baden, 1956; idem. Ravenna. Wiesbaden, 1976. Vol. 4; idem. Einführung in die Christliche Archaeologie. Darmstadt, 1983; Davis J. The Origin and Development of Early Christian Church Architecture. L., 1952; Ward-PerkinsJ. b. Constantine and the Origins of the Christian Basilica // Papers of the British School in Rome. 1954 Vol. 22. P. 69-90; idem. Roman Imperial Architecture. Harmondsworth, 1981; Ward-PerkinsJ. B ., Balance M . H. The Caesareum at Cyrene and the Basilica at Cremna // Papers of the British School in Rome. 1958 Vol. 26. P. 137-194; Mathews T . F. An Early Roman Chancel Arrangement and Its Liturgical Functions // Rivista di archeologia cristiana. 1962 Vol. 38. P. 73-95; idem. Early Churches of Constantinople: Architecture and Liturgy. Univ. park; Chicago; L., 1971; Gall E. Cathedrals and Abbey Churches of the Rhine. N.Y., 1963; Davis-Weyer C. Early Medieval Art, 300-1150. Englewood Cliffs, 1971; Kubach H. E. Romanesque Architecture. N.Y., 1972, 1988; Mango C. Byzantine Architecture. N.Y., 1974; Brandenburg H. Roms fruhchristliche Basiliken des 4. Jh. Munch., 1979; Focillon H. The Art of the West in the Middle Ages. Oxf., 19803. Pt. 1: Romanesque Art; Gandolfo F. Le basiliche armene IV-VII secolo. R., 1982; Jacobson A . L . Patterns in the development of early medieval architecture. L., 1983; Komech A . AND . Architecture // Culture of Byzantium, IV - 1st half. 7th century M., 1984; Kleinbauer E . Early Christian and Byzantine Architecture: an Annot. Bibliogr. and historiography. Boston, 1992; Davies M. Romanesque Architecture: a Bibliogr. N.Y., 1993; Calkins R. Medieval Architecture in Western Europe from A. D. 300 to 1500. N. Y.; Oxf., 1998; Stalley R. Early Medieval Architecture. Oxf., 1999.

L. A. Belyaev

basilica(Greek - royal house) - in Rome, according to Plutarch, was a public building for official meetings, trade transactions, etc. In Athens, the name "basilica" was given to the meeting place of the first archon - the basileum.

The oldest Roman basilica is the Porcia Basilica, built c. 184 BC Other outstanding examples of basilica architecture include the Aemilia Basilica (179 BC), the Julio Basilica (12 AD), the Ulpian Basilica (113 AD) and the Maxentian Basilica (completed by Constantine in AD) .

With the spread of Christianity throughout the Roman Empire, the basilica became one of the places of collective prayer for Christians and one of the main types of Christian temple.

The Christian basilica is an elongated rectangular building with a flat ceiling and a gable roof. Outside and inside, it is decorated along its entire length with columns in two or four rows, dividing the internal space of the basilica into longitudinal parts - naves. In an early Christian basilica, two rows of columns were more common, and, accordingly, three naves, the middle of which (the main one) included an apse, where the altar was located; there were basilicas with five naves. The interior of the basilica was illuminated through window openings above the roofs of the side aisles. There were various forms of basilica, one of them was the cruciform basilica, formed by the addition of a transverse nave of the same width and height as the first ones. The most striking example of the fusion of basilica architecture with the central dome is the church of St. Sophia in Constantinople.

Orthodox churches of this form are still found today, but the basilica is more characteristic of Western church architecture.

Literature

• N. S. Movleva. Small Orthodox explanatory dictionary. – M.: Rus. yaz.-Media, 2005, p.34.

"Styles in Architecture" - Milan Cathedral (1836-1856). Art of Ancient Egypt. London. Stained glass windows of Gothic cathedrals. Catherine Palace. Pushkin. (1752-1757). Romanesque castles. Tauride Palace in St. Petersburg. (1783-1789). A) XVIII - XIX centuries; B) V - VI centuries; C) X-XIII centuries. Baroque. Figurative - style language of the architecture of the past.

"Romanesque Sculpture" - The main theme of Romanesque sculpture was the glorification of God. Types of Romanesque capitals. Trier Cathedral, Trier, Germany. Arch vaults. TIMPAN - a recessed part of the arch above the entrance. Cistercians An order of hermit monks founded by St. Arch from the church at Narborn, Languedoc, France, 1150-1175.

"Romanesque architecture" - Romanesque style. Romanesque architecture uses a variety of building materials. Types of structures. Pisa baptistery, basilica and bell tower. Romanesque arch and cross vault. Character traits. Romanesque architecture. Building features. Metal and woodworking, enamel, and miniatures have reached a high level of development.

"Architectural styles" - Modern style. Classicism style. Literally translated from Italian, the word baroque means artsy, whimsical. Quiz. Furniture, crockery, lamps and other utensils in Art Nouveau style appeared in the houses. The buildings are symmetrical, devoid of decor. Order became the basis of the architectural language of classicism. Empire style.

"Styles in art and architecture" - Modern. Bamberg Cathedral, east façade with two towers and polygonal choirs. Casa Batlló (1906, architect "House with Towers" on Leo Tolstoy Square in St. Petersburg. Neo-Gothic. Classicism. Charles Cameron. Gothic in Russia. Romanesque style. Gothic Cathedral in Coutances, France. Baroque. Modernism. Notre Dame Cathedral.