Church of Sant'Andrea, Mantua which is considered to be the real blood of Jesus

Oct 16, 2019

image source

In 1470 the ruler of patron, another protector, Alberti commissioned to increase the small church of Sant'Andrea, which is believed to be the sacred relic, which is considered to be the real blood of Jesus. In order to satisfy his patron's desire for a large building to meet the crowd to see the fossil, Alberti proposed to make the "Etruscan temple ". Work began on a new church in 1472, but it died in the summer of Alberti. According to its original plan the first construction gradually progressed, but it was completed in the late eighteenth century. Hence, it is not always clear which elements belong to the original design of Alberti. Latin-cross plan a boat with a width of more than 55 feet by the same width transept; one square, dome crossing; And the rectangular sanctuary on the axis with the navel is definitely worth considering. Alberti was also responsible for the same height of the barrel-vaulted chapels, which is similar to the naval bar and the lower chapel nests, supported by a barrel vault supporting the naval barrel vault. However, its dome would not be perforated and would not be raised on the drum, as it was finally one.

image source

The composition of Alberti’s for the Sant'Andrea facade, the front of the temple and its combination of victorious arch, reflects the Tempio Malatesta in the Rimini, but the facade now has its own clear volume, which is closed by sight from the backyard. Two sets of gorgeous Corinthian pilasters show the parach face. Two stories are high around the barrel-vaulted Triumphal-Kark entrance, while others stand on the stairs, which pass through three ways, which support the entry and stairs of the temple. The left and right two-storey chair in the arch is open-facing barrel-vaulted spaces. The simplicity of the plan and the complexity of the facade also indicate the glory of Sant'Andrea's interior. In the Roman Forum, its large barrel-vaulted naval was expanded on each side by the inner parts of monumental monuments such as Constantine and Maxentius in the Roman Forum. In this apparent reference to the Roman Imperial Art, Alberti created the creation of such a large size and spatial unity that had influenced architectural design over the centuries.