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Acts 2:46, Acts 20:7-8

These were the initial places where evangelization was taking place. Initially, these were used because of the available space. This was one of the places that were used before Christianity was a protected religion.

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Written by: Misti Navas

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Introduction

The apostles, chosen by Jesus Christ himself, were entrusted with the profound responsibility of spreading the Gospel to all corners of the world. Their unwavering commitment and fervent dedication to this mission laid the foundation for the global dissemination of the Christian faith. As we delve into the historical accounts of their endeavors, we gain invaluable insights into the pivotal locations where the apostles preached the Gospel and the profound impact of their teachings.

The apostles embarked on their mission following the resurrection and ascension of Jesus Christ. Their fervor and determination to fulfill the Great Commission, as instructed by Jesus, propelled them to journey far and wide, transcending geographical and cultural boundaries. Their unwavering faith and conviction in the transformative power of the Gospel fueled their tireless efforts to share the message of salvation with people from diverse backgrounds.

Throughout their journeys, the apostles encountered numerous challenges and adversities, yet they remained resolute in their mission. Their unwavering faith and steadfast resolve in the face of persecution and hardship serve as a testament to their unwavering commitment to spreading the Gospel.

As we explore the remarkable accounts of the apostles' endeavors, we gain a profound understanding of the transformative impact of their teachings. Their unwavering dedication and selfless sacrifice continue to inspire and resonate with believers across the globe. The enduring legacy of the apostles' missionary efforts serves as a testament to the enduring power and relevance of the Gospel message.

The apostles' journey to spread the Gospel serves as a timeless testament to the enduring power and relevance of the Christian faith. Their unwavering commitment and selfless dedication continue to inspire and guide believers, underscoring the profound impact of their missionary endeavors. Join us as we embark on a captivating journey through the pivotal locations where the apostles preached the Gospel, unraveling the enduring legacy of their transformative mission.

The Gospel in Jerusalem

The city of Jerusalem holds profound significance in the spread of the Gospel, serving as the epicenter of the early Christian movement. Following the outpouring of the Holy Spirit on the day of Pentecost, the apostles, including Peter and John, embarked on a momentous journey to proclaim the Gospel in Jerusalem. Their impassioned preaching and miraculous demonstrations of divine power captivated the hearts and minds of the people, igniting a spiritual awakening that reverberated throughout the city.

Amidst the bustling streets and ancient walls of Jerusalem, the apostles fearlessly proclaimed the message of salvation, drawing multitudes to witness the transformative power of the Gospel. The fervent zeal and unwavering conviction of the apostles resonated with the diverse populace, transcending cultural and social barriers. Through their compelling sermons and profound displays of divine authority, the apostles kindled a spiritual revival that permeated the fabric of Jerusalem society.

The apostles' unwavering commitment to spreading the Gospel in Jerusalem was underscored by their remarkable courage in the face of opposition and persecution. Despite encountering vehement resistance from religious authorities and skeptics, the apostles remained steadfast in their mission, resolutely proclaiming the message of hope and redemption. Their unwavering resolve and unyielding faith in the face of adversity served as a testament to the transformative power of the Gospel.

The impact of the apostles' ministry in Jerusalem reverberated far and wide, catalyzing a profound spiritual awakening that transcended geographical boundaries. The vibrant faith community that emerged in Jerusalem became a beacon of hope and inspiration, drawing believers from diverse backgrounds into a unified fellowship centered on the Gospel message. The apostles' unwavering dedication and fervent proclamation of the Gospel laid the groundwork for the enduring legacy of Christianity in Jerusalem and beyond.

As the apostles fervently preached the Gospel in Jerusalem, their profound teachings and miraculous demonstrations of divine power ignited a spiritual renaissance that continues to resonate through the annals of Christian history. The transformative impact of their ministry in Jerusalem serves as a timeless testament to the enduring power and relevance of the Gospel message, inspiring believers to embrace the profound truths imparted by the apostles.

In the heart of Jerusalem, the apostles' unwavering commitment to spreading the Gospel laid the foundation for a vibrant Christian community that would ultimately shape the course of history. Their indomitable spirit and resolute proclamation of the Gospel in Jerusalem exemplify the enduring legacy of their missionary endeavors, leaving an indelible mark on the fabric of Christian faith and the collective consciousness of believers worldwide.

The Gospel in Samaria

The proclamation of the Gospel in Samaria marked a pivotal juncture in the apostles' missionary endeavors, signifying the expansion of the Christian message beyond the confines of Jerusalem. Following the persecution that arose in Jerusalem, the disciples dispersed to various regions, carrying with them the transformative message of salvation. Among these intrepid messengers was Philip, whose unwavering commitment to spreading the Gospel in Samaria bore profound fruit.

As Philip ventured into Samaria, he fervently proclaimed the Gospel, captivating the hearts and minds of the Samaritan populace. His impassioned sermons and miraculous demonstrations of divine power served as a compelling testament to the transformative impact of the Gospel. The Samaritans, enraptured by the message of hope and redemption, embraced the Christian faith with fervent zeal, ushering in a spiritual awakening that reverberated throughout the region.

The apostles' ministry in Samaria transcended cultural and societal barriers, fostering a sense of unity and fellowship among the Samaritans. The profound teachings of the Gospel, coupled with the tangible manifestations of divine power, kindled a fervent faith within the hearts of the Samaritan people, catalyzing a spiritual revival that transcended geographical boundaries.

The apostles' unwavering commitment to spreading the Gospel in Samaria exemplified their resolute dedication to fulfilling the Great Commission. Despite encountering initial skepticism and resistance, the transformative impact of the Gospel became increasingly evident as the Samaritans embraced the message of salvation with unwavering faith.

The vibrant faith community that emerged in Samaria stands as a testament to the enduring legacy of the apostles' missionary endeavors. The transformative impact of the Gospel in Samaria serves as a timeless testament to the enduring power and relevance of the Christian message, inspiring believers to embrace the profound truths imparted by the apostles.

In the annals of Christian history, the apostles' proclamation of the Gospel in Samaria remains a poignant reminder of the transformative power of the Christian message. The enduring legacy of their missionary efforts continues to resonate through the ages, inspiring believers to fervently embrace the profound truths of the Gospel and perpetuate the timeless message of hope and redemption to all corners of the world.

The Gospel to the Gentiles

The expansion of the Gospel to the Gentiles marked a profound paradigm shift in the apostles' missionary endeavors, signifying the universal scope of the Christian message. The apostle Peter, guided by divine revelation, embarked on a transformative journey that would forever alter the trajectory of the early Christian movement. His encounter with Cornelius, a devout Gentile centurion, served as a pivotal catalyst for the inclusion of the Gentiles in the redemptive narrative of the Gospel.

Peter, initially apprehensive about associating with Gentiles, received a divine vision that challenged his preconceived notions and expanded his understanding of God's inclusive love and grace. This transformative revelation compelled Peter to journey to the household of Cornelius, where he fervently proclaimed the Gospel, transcending cultural barriers and embracing the Gentiles as recipients of God's redemptive plan.

The profound outpouring of the Holy Spirit upon Cornelius and his household served as a tangible affirmation of God's impartiality and universal invitation to partake in the blessings of salvation. The apostle Peter, astounded by the divine manifestation, unequivocally affirmed the inclusion of the Gentiles in the Christian faith, underscoring the transformative impact of the Gospel in transcending ethnic and cultural boundaries.

The apostles' unwavering commitment to extending the Gospel to the Gentiles exemplified their resolute dedication to fulfilling the Great Commission, transcending geographical and societal constraints to embrace individuals from diverse backgrounds. The transformative impact of the Gospel among the Gentiles catalyzed a profound spiritual awakening, fostering a sense of unity and fellowship that transcended traditional divisions.

The apostles' proclamation of the Gospel to the Gentiles stands as a testament to the enduring legacy of their missionary endeavors, underscoring the universal relevance and transformative power of the Christian message. The inclusion of the Gentiles in the redemptive narrative of the Gospel serves as a timeless testament to the expansive reach of God's love and grace, inspiring believers to fervently embrace the profound truths imparted by the apostles and perpetuate the timeless message of hope and redemption to all corners of the world.

The apostles' unwavering commitment to extending the Gospel to the Gentiles exemplifies the enduring legacy of their missionary endeavors, leaving an indelible mark on the fabric of Christian faith and the collective consciousness of believers worldwide.

The Gospel in Antioch

The proclamation of the Gospel in Antioch stands as a pivotal chapter in the annals of early Christianity, signifying the burgeoning expansion of the Christian message beyond the confines of Jerusalem. Antioch, a bustling metropolis situated in the heart of the ancient world, served as a vibrant melting pot of diverse cultures and traditions, providing an opportune setting for the dissemination of the Gospel to a cosmopolitan audience.

The apostle Paul, along with Barnabas, played a seminal role in the establishment of the Christian community in Antioch. Their fervent proclamation of the Gospel resonated deeply with the inhabitants of Antioch, transcending cultural and social barriers to ignite a spiritual awakening that reverberated throughout the city. The transformative impact of their ministry catalyzed a fervent embrace of the Christian faith, fostering a vibrant community of believers united by the profound truths of the Gospel.

Antioch emerged as a pivotal hub for the early Christian movement, serving as a beacon of spiritual fervor and communal unity. The apostles' unwavering commitment to spreading the Gospel in Antioch exemplified their resolute dedication to fulfilling the Great Commission, transcending geographical and societal constraints to embrace individuals from diverse backgrounds. The vibrant faith community that flourished in Antioch became a testament to the enduring legacy of the apostles' missionary endeavors, underscoring the universal relevance and transformative power of the Christian message.

The city of Antioch bore witness to the convergence of diverse cultural and religious ideologies, presenting a formidable backdrop for the apostles' proclamation of the Gospel. The apostles' unwavering resolve in the face of opposition and skepticism underscored their steadfast commitment to sharing the message of hope and redemption with the inhabitants of Antioch. Their impassioned sermons and miraculous demonstrations of divine power served as a compelling testament to the transformative impact of the Gospel, inspiring multitudes to embrace the Christian faith with fervent zeal.

The enduring legacy of the apostles' ministry in Antioch continues to resonate through the annals of Christian history, inspiring believers to fervently embrace the profound truths of the Gospel and perpetuate the timeless message of hope and redemption to all corners of the world. The vibrant Christian community that flourished in Antioch stands as a testament to the enduring impact of the apostles' missionary endeavors, leaving an indelible mark on the fabric of Christian faith and the collective consciousness of believers worldwide.

The Gospel to the Ends of the Earth

The apostles' unwavering commitment to spreading the Gospel transcended geographical boundaries, propelling them to embark on transformative journeys to the farthest reaches of the known world. Their resolute dedication to fulfilling the Great Commission, as instructed by Jesus, propelled them to venture into uncharted territories, carrying with them the transformative message of salvation.

Amidst the backdrop of diverse cultures and civilizations, the apostles fervently proclaimed the Gospel, transcending linguistic barriers and societal divisions to ignite a spiritual awakening that reverberated to the ends of the earth. Their impassioned sermons and miraculous demonstrations of divine power served as a compelling testament to the transformative impact of the Gospel, inspiring multitudes to embrace the Christian faith with fervent zeal.

The apostles' missionary endeavors extended to regions far beyond the confines of their familiar landscapes, underscoring the universal relevance and transformative power of the Christian message. Their unwavering commitment to sharing the message of hope and redemption with individuals from diverse backgrounds exemplified the inclusive nature of the Gospel, transcending cultural and societal constraints to embrace individuals from all walks of life.

As the apostles journeyed to the ends of the earth, their profound teachings and tangible manifestations of divine power catalyzed a fervent embrace of the Christian faith, fostering vibrant communities of believers united by the profound truths of the Gospel. The enduring legacy of their missionary endeavors continues to resonate through the annals of Christian history, inspiring believers to fervently embrace the profound truths of the Gospel and perpetuate the timeless message of hope and redemption to all corners of the world.

The apostles' unwavering commitment to extending the Gospel to the ends of the earth serves as a testament to the enduring legacy of their missionary endeavors, leaving an indelible mark on the fabric of Christian faith and the collective consciousness of believers worldwide. Their transformative mission transcended geographical confines, leaving an indelible imprint on the course of human history and perpetuating the timeless message of salvation to the farthest reaches of the earth.

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Where Did The Apostles Preach The Gospel

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Discover where the apostles preached the gospel and explore fascinating Bible facts. Uncover the historical locations and significance of their teachings.

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House churches are talked about throughout the Acts of the Apostles and the New Testament. These were spaces of gathering where a type of liturgy would happen. There would be breaking of the bread, spreading of the Gospel, people praying together, and sometimes fraternal correction if one needed it. House churches were needed because Christianity was not a protected religion and it guaranteed a space for early Christians to worship, pray to God, and create community.

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The Early Christian Basilica (oneonta.edu)

The Roman Empire: in the First Century. The Roman Empire. Early Christians | PBS

Transept | EWTN

Building a Roman Church: The Triumphal Arch | hermitsdoor (wordpress.com)

Templon (columbia.edu)

Deterioration and Decay of Roman Structures – Engineering Rome

Government - Feudalism, Monarchy, Church | Britannica

A beginner's guide to Romanesque architecture (article) | Khan Academy

Romanesque Architecture   Durham World Heritage Site

Aula Palatina - Wikipedia

The Italian Renaissance Altarpiece: Between icon and narrative by David Ekserdjian (churchtimes.co.uk)

How did humanism and religion affect Renaissance art? | Britannica

The Vatican and the Renaissance: Influence on Art and Culture - What a Life Tours

Dura-Europos church - Wikipedia

https://www.architecturaldigest.com/story/baroque-architecture

https://www.newadvent.org/cathen/07346b.htm#:~:text=As%20its%20name%20indicates%2C%20the,of%20its%20material%20and%20ornamentation.

https://www.quadrigaltd.com/features-of-gothic-architecture/

https://www.metmuseum.org/toah/hd/itar/hd_itar.htm

https://pressbooks.bccampus.ca/cavestocathedrals/chapter/romanesque-architecture/

https://www.friendsofnotredamedeparis.org/cathedral/artifacts/gargoyles/#:~:text=Gargoyles%20originated%20in%20medieval%20Europe,by%20erosion%20and%20water%20infiltration.

https://www.mdpi.com/2075-5309/13/2/299#:~:text=Sacred%20constructions%20like%20churches%20are,city%20history%20and%20the%20government

https://sjnknox.org/romanesque-architecture-our-catholic-architectural-heritage/

https://www.newadvent.org/cathen/05257a.htm

https://the-beautiful-home.com/catholic-church-architecture/#The_Basilica

https://www.re-thinkingthefuture.com/rtf-fresh-perspectives/a651-evolution-of-cathedral-architecture/#google_vignette

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Roman basilicas were public places within the community before Christianity became a protected religion. The basilica building embodied a type of architecture that held meaning within the Roman community. Basilicas were essentially the City Hall of the past, buildings that were the center of public power with courts or financial centers, army drill halls, or reception rooms within imperial places. Once Christianity became a protected religion, some basilicas were converted to churches and others were built for the sole purpose of being used as a church.

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An apse is the semicircular part of a building. Within a court of law, it was where the magistrate would have been and it was a representation of the transfer of power from the Emperor to the magistrate. An apse generally separates the rest of the church from the sanctuary. The transfer of power from Emperor to magistrate taking place within an apse correlates to the transfer of power from God to the Church. Within the apse, within the sanctuary is where the Mass was celebrated and where the Paschal sacrifice is observed and the host is consecrated.

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With a split between the Eastern and Western Catholic Church, liturgical differences arose and with that, there were resulting architectural differences. Some of the key differences resulted in the templon (an icon barrier) and the choros (chandelier).

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These buildings were created with an eye for defense and out a desire for a sturdy, assertive presence. They were made to be strongholds for the monasteries or the crusading knights that existed within the time that Romanesque churches were being built.

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It is within the French style, it is meant to demonstrate reaching toward heaven. They generally took between three to five generations to build. The timing was before the Black Death, so the amount of people around to help build the churches were high. The engineering skills had improved rapidly.

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The Renaissance was a period of history where there was a revival of Classical ideas from Ancient Rome and Greece. There were many contributions to various fields, science, art, architecture, religion, and politics. It was a time of rebirth and it started within Florence, Italy. The Renaissance used Roman and Classical techniques within the virtue of Christianity.

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With the Protestant Reformation starting in 1517, the Baroque style helps highlight the tensions between Protestant and Catholic artists. Some of this tension ended up resulting in some of the elements that were integral to Baroque churches, such as the high altar. Primarily Baroque was established due to some of the ways that it broke the rules of Renaissance architecture. Baroque architecture is very unique and the individual buildings have a tendency to have quite the differences.

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New Classical churches hailed from the Enlightenment Era. The focus on art and culture was overturned for a focus on science and practical and personal knowledge.

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Occurred during the industrial period. Within the Americas

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The transept was meant to separate the apse from the rest of the church and to give the appearance of a cross. Instead of the transept, sometimes it is simply referred to as the cross. It was also meant to incorporate extra seating within the church, especially for an influx of clergy. The crossing refers to the part of the center of the transept that is connected to the nave.

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These arches were an improvement over the barrel vaults (arches) common within Romanesque architecture. The point at the top allowed for less stone and less mass to be compiled, which allowed spaces to feel bigger and more open. The pointed arch helped redistribute the weight which was why the buildings were able to get even larger when designing Gothic churches. This new weight distribution was most likely found within Islamic architecture through one of two different ways. Muslims occupied Spain, France's next-door country, from 711 to 1492 during which time they greatly impacted some of the architecture within the country. Another possibility could have been during the Crusades which occured between 1095 to 1300.

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A flying buttress was one of the key features of Gothic architecture. It consisted of a partial arch that was oriented perpendicular to the main wall. This partial arch helped distribute the weight of the building and the forces on the roof, vault, or dome. Because the flying buttresses dispersed the weight off of the walls, they were able to be thinner and more windows were able to be installed without creating structural integrity concerns.

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These arches stand between the transept and the nave where the congregation sits. They were used within Roman military celebrations and was meant to symbolize victory and status within the historical line of leaders. These triumphal arches were meant to symbolize Jesus' victory over sin and death and the procession at the beginning of each mass passes through the arch on the way to the apse.

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A templon was a barrier that separated the apse or sanctuary from the rest of the congregation. It seems to have been a similar idea to the triumphal arches from Basilicas. Although it would have originally been a small parapet (short wall), eventually icons were used to fill in the wall which made the sanctuary less and less visible over time and it is now referred to as an iconostasis.

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Most Byzantine churches had relatively simple and repetitive metal framework, but the choros is designed so that one can look up and not have their view obstructed by this, but rather that it can help light up any of the imagery on the dome above. The choros were made to help provide light within the Church and help the attention of the person at the liturgy to remain forward focused.

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A lot of the architectural knowledge that Rome had was lost, so the same buildings are unable to be built. The knowledge being lost can be attributed to a couple different things. The first being that Romans built buildings to be repaired. The expectation was that a building would need continual bits of maintenance throughout the lifespan of a building until it was destroyed. Even with that in mind, most buildings would need to be fully replaced or heavily rebuilt around 50-70 years after completion. With the Romanesque period occurring around 500 years after the fall of Rome, most Roman buildings were not fully upkept. Another reason for the more simplified style is the general instability during this timeframe. There was less of an opportunity for compounded knowledge with people learning from each other and being able to pass on new technologies onto the next generation. This required a more simplified style of architecture than previous churches.

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Before Romanesque, Churches were generally decorated through the use of mosaics. These churches were often decorated with frescoes. The simplified architecture of the church played a role in the change because there were large, long walls that needed decoration.

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Romanesque churches used rib vaults which helped to increase the height of the aisles and the nave where the congregation would be seated. Although a part of the design, it served an essential element of distributing the weight of the ceiling outward and towards the floor which allowed for taller buildings with less material needed at the height.

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These churches were built when a lot of the focus was on Crusades and pilgrimages. The walls were made with a focus on defense, so the walls were quite thick to make them impervious to attack and were made of stone to reduce the risk of a fire. With that mindset of defense, small windows and few of them allowed some light to enter the space without a concern of weakening the structure of the walls.

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Due to the flying buttresses and the increase of windows, stained glass which can be traced back to the 7th century, had a burst of popularity throughout the centuries and had become much more sophisticated and detailed of a process by the 12th century which was when Gothic churches were being built. This allowed for biblical scenes, and extra aesthetic design to be included within even the windows of the Church. The windows were also able to be as large and all-encompassing as they were due to tracery. This was where the windows were divided into sections by stone frames. The two most common patterns were lancet (narrow with a pointed arch as pictured) or oculus (circular, like a rose or wheel with spokes)

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Gothic architecture used a lot of ribbed vaults which reduced the need for many of the inner load-bearing walls which resulted in a much more open space within the church. For the ceilings, ribbed vaults were used in addition to the Romanesque barrel vault to help with the transfer of load from the weight of the ceiling. When a ceiling is vaulted in this manner, it can cover a large space and can be an additional aesthetic element of symmetry.

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The Renaissance period relied on having buildings, with square and rectangular shapes so that they were proportional and balanced. This style had plainer walls with flat facades in opposition to the detailed and ornate Gothic architecture.

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Art was one of the things that flourished during the Renaissance and with that came an increase of Church patronage of the arts. Churches were being covered in artwork from the various Renaissance artists with altarpieces and statues being very visible for the people to look at. As with other periods much of the art consisted of depictions of biblical scenes, however with the focus of naturalism, many of the artwork would depict individuals in a more contemporary landscape context as opposed to a solid gold background that had been more prevalent previously.

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A Renaissance painting in an ancient church in the heart of Florence

It seems rather unlikely that in the core of Florence, in a street frequented mainly by tourists attracted by the great fashion brandstores of , there is a large Renaissance painting. This is what happens in Via Tornabuoni where, at the end of the road, almost near the bridge that allows crossing the Arno river, there is the Santa Trinita Church. In this day the building has a Baroque façade that hides the antiquity of the church. It is only by entering the interior that, walking through the naves, it gets to perceive the history and richness of this place which is one of the most important in Florence. On the side of the right transept is where the Sassetti Chapel is located. The decoration of this chapel was commissioned by the wealthy merchant and commercial agent on the family's behalf, Francesco Sassetti. The walls of the chapel are divided into three registers in which Domenico del Ghirlandaio - a painter who had already achieved particular fame thanks to important commissions - created scenes from Saint Francis of Assisi's life, the name-day saint of the client who, together with his wife, he is portrayed in the back wall of the chapel in a prayerful attitude. The two kneeling figures converge towards the center, where the altarpiece which is always by Ghirlandaio and which depicts the Adoration of the Shepherds. This tempera on panel, which comes in the square format commonly called ancient, is one of the most significant works of the Florentine Renaissance. In addition to this, one of the reasons to admire this very elegant altarpiece is to snatch the secrets of a Renaissance painting that is located in the heart of Florence, nearby a street where mostly superficial tourists pass.

In this work it is where Ghirlandaio comes to condense symbolic references of great strength. At the center of the composition is where we see the child Jesus - lying on the ground - worshipped by his mother, Joseph and a group of shepherds. The series of these characters on the foreground possess an emotional charge and a monumentality of great impact that in itself would be enough material for this painting. But Ghirlandaio wants to give us the whole Gospel context; here he is, therefore in the background it's possible to see represented on the left by the Magi's procession coming from afar and crossing a Roman triumphal arch as it approaches the Nativity's hut.
Adoration of the shepherds, Domenico Ghirlandaio, 1485, Santa Trinita Church
The painting and its series of symbolic references

This constitutes one of the first symbolic references that the artist endows with in the work; the custom in Christian iconography to represent classical architecture quoting as a reference to pagan antiquity's end. A new era has begun: that of salvation, symbolised by Christ's coming. What instead is represented by Ghirlandaio on the background right side is a layout similar to what was made by Ghirlandaio himself with the St. Peter and Andrew's Vocation in the Sistine Chapel, namely, the inserts of the cities of Jerusalem and Rome, conceived with great imagination by the painter- as can be seen by the free quoting of ancient monuments such as Hadrian's Mausoleum.

Ghirlandaio already reworked this theme in the early seventies of the fifteenth century when, at the beginning of his career, the painter was influenced by the style of Verrocchio of whom he frequented the flourishing master's workshop: an excellent example is the Ruskin Madonna, a beautiful painting on wood preserved at National Galleries of Edinburgh, a very refined work that it had been the opportunity to see again in Florence in the monographic exhibition dedicated to Verrocchio at Palazzo Strozzi a few months ago.

Even by comparing the same Ruskin Madonna with the Virgin of the Sassetti's painting is possible to see how Ghirlandaio has become more confident in the rendering some details - above all the Virgin's hands positioning that is carried out with more confidence.

Flemish painting influences

One of the most significant artistic experiences of Ghirlandaio's training was that of Flemish painting: it's possible to see how, compared to the diaphanous light of theRuskin Madonna, in the Sassetti altarpiece the chromatic modulation is more calibrated and denser at the same time, and that was thanks to the important influence exercised on him by the presence of Flemish artists in Florence- such as and Van Eyck for example - but above all for the view of "foreign" works that were permanently destined to the Florentine churches. An emblematic case was, for example, the arrival in Florence - after a trip that can be said to be daring - of the Portinari Triptych, a masterpiece by Hugo Van Der Goes.

One of the secrets of this Renaissance painting in the core of Florence is revealed just through a comparison between the Sassetti altarpiece and the Portinari Triptych that is certainly feasible in some details, such as the position of the praying Virgin or, even more, in the hair and in the similar attitudes of the shepherds on the right side of the table.

Hovewer, the Flanders manner is mitigated by Ghirlandaio through the classical tradition that was typical of the Florentine painting of those decades, a painting that sometimes caracterised from an archaeological taste to which the Verrocchio's workshop had contributed in a non-secondary way. In this regard it should be opportunely remembered that the great Leonardo Da Vinci had his training in the Verrocchio's workshop. This fact is as interesting as evident is the fact that Leonardo himself followed this taste for the ancient, as it can be seen in the Annunciation of the Uffizi Gallery. In this refined painting, Leonardo places an "old-fashioned" sarcophagus under the lectern where the Virgin is intent on reading.

It is well known to scholars that that sarcophagus painted by Leonardo is a free tribute to his master who had made a similar sarcophagus in the San Lorenzo church for the burials of Piero and Giovanni de Medici, the Cosimo the elder's sons. The mediation of antiquing taste is also what can be found in the Sassetti altarpiece where, in an almost arcadian-style quote, Ghirlandaio places an ancient sarcophagus behind the figure of the Virgin.

The insertion of a sarcophagus - an object that immediately refers to the concept of death - in a context like this in which what is celebrated is the exact opposite of death, that is, a new birth, seems somewhat strange in this context.

Detail of the Adoration of the Shepherds, D.Ghirlandaio, 1485, Chiesa Santa Trinita, Firenze
Although apparently in contradiction, the presence of the sarcophagus in this nativity takes on a Christian symbolism of great importance. Another element of particular interest is given by the altarpiece's subject, in which we strangely wanted to give greater emphasis to the Adoration of the Shepherds in place of the Adoration of the Magi - arranged in the background - a subject which the latter above all in Florence it had great popularity with merchants who commissioned works of art in churches.

The secrets of a painting in the core of Florence

The fact of opting for an Adoration of the Shepherds instead of an Adoration of the Magi arouses particular curiosity when it is learned that the choice is linked both to the name of the client - Francesco - whose name is celebrated here on the walls of the chapel by the St Francis' stories, and for the proximity of this chapel to that of another important Florentine family - that of Strozzi. In the latter chapel is where there were once two extraordinary altarpieces, made by Beato Angelico and Gentile da Fabriano. These two amazing paintings are still preserved in Florence: one in the San Marco Museum and the other in the Uffizi.

The long series of symbolic references and secrets still to be revealed of this Renaissance painting in the core of Florence can be discovered with a guided tour of the Church of Santa Trinita. The visit to the church can be included in an itinerary of the historic centre of the town which can become an alternative way to discover the cradle of Renaissance ⟣

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The secrets of a Renaissance painting in the core of Florence - Michele Busillo

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The secrets of a Renaissance painting in the core of Florence - Michele Busillo

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These were included within Baroque churches because a primary distinction of this time period was the Protestant Reformation. Because of some of the differing theological ideas, Catholic beliefs were emphasized within the elements of baroque churches. The high altar was supposed to signify the prominence of the place where the sacramental sacrifice was performed and through the aesthetic and the ornamentation of the altar to help the lay people understand the importance of the Eucharist within the Catholic tradition.

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The ceiling art within Baroque churches were meant to help show the congregation some of the expected images of Heaven. It was meant so that looking up at the ceiling would guide your mind to God and to Heaven.

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The ellipticals and ovals were meant to help increase the space within a building or at least the illusion of space. Baroque architecture tried to eliminate any corners, to expand the space within the church, and to help distort anyone's perception of reality when looking up. This was particularly helpful in Baroque's goal of bringing attention up as though to Heaven.

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Although pulpits have been used throughout history to share information, from the Hebrews to the Greeks to the Romans, the pulpit was placed within a place of primacy within New Classical churches. The pulpit is generally placed to one side of the sanctuary near the main altar. Within many Protestant churches, the pulpit has even more of a place of prominence because the altar is not used.

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During this time period, steeples were incorporated within churches often with a belfry so that the church bells could ring. Also a key exterior identifier of a church.

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After Bach and the other classical composers of the 18th and 19th centuries, organ lofts became much more commonplace within churches. The organ holds a place of pride out of musical instruments because it is the most like a human voice and it also helps encourage the congregation to fully participate within the sung prayers during a mass. The organ loft is generally found above the church entrance.

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One of the renovated buildings that became a church was the Aula Palantina, also known as the Basilica of Constantine. This building was built between 300 and 310 AD as part of the palace in Trier, Germany and was one of the renovated public basilicas that became used for Christians.

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Basilicas-a type of building used by the The original ancient Romans for diverse functions including as a site for law courts-is the category of building that Constantine's architects adapted to serve as the basis for the new churches. Constantinian buildings are now known only in plan, but an examination of a still extant early fifth century Roman basilica, the Church of Santa Sabina, helps us to understand the essential characteristics of the early Christian basilica.

Like the Trier basilica, the Church of Santa Sabina has a dominant central axis that leads from the entrance to the apse, the site of the altar. This central space is known as the nave, and is flanked on either side by side aisles. The architecture is relatively simple with a wooden, truss roof. The wall of the nave is broken by clerestory windows that provide direct lighting in the nave. The wall does not contain the traditional classical orders articulated by columns and entablatures. Now plain, the walls apparently originally were decorated with mosaics.

This interior would have had a dramatically different effect than the classical building. As exemplified by the interior of the Pantheon constructed in the second century by the Emperor Hadrian, the wall in the classical building was broken up into different levels by the horizontals of the entablatures. The columns and pilasters form verticals that tie together the different levels. Although this decor does not physically support the load of the building, the effect is to visualize the weight of the building. The thickness of the classical decor adds solidity to the building.

In marked contrast, the nave wall of Santa Sabina has little sense of weight. The architect was particularly aware of the light effects in an interior space like this. The glass tiles of the mosaics would create a shimmering effect and the walls would appear to float. Light would have been understood as a symbol of divinity. Light was a symbol for Christ. The emphasis in this architecture is on the spiritual effect and not the physical. The opulent effect of the interior of the original Constantinian basilicas is brought out in a Spanish pilgrim's description of the Church of the Holy Sepulcher in Jerusalem:

The decorations are too marvelous for words. All you can see is gold, jewels and silk. . . . You simply cannot imagine the number and sheer weight of the candles, tapers, lamps and everything else they use for the services. . . . They are beyond description, and so is the magnificent building itself. It was built by Constantine and . . . was decorated with gold, mosaic, and precious marble, as much as his empire could provide.

Additional resources

Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century (online catalog from The Metropolitan Museum of Art).

Mary Joan Leith and Allyson Sheckler, " The Crucifixion Conundrum and the Santa Sabina Doors," Harvard Theological Review, 2010.

Smarthistory images for teaching and learning:

[flickr_tags user_id = "82032880@N00" tags = "santa sabina,"]

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This impressive church borrowed its plan and its columns from ancient pagan buildings.

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The earliest known house church was found in Syria and believed to have originally been a home that ended up being fully converted to a church somewhere between 233 and 256 AD. There was a space for catechumens to be catechized, a baptistry, and a space for the Eucharist to be celebrated. There were surviving wall frescos found within the baptistry and they depicted scenes from both the Torah and scenes from Jesus's life. They were done in the same style as paintings found in synagogues, but were more simplistic than those. The paintings went beyond the biblical scenes though because they seemed to follow a common thread of answering who God was and showing victory over death. This makes sense with the early understanding that the second coming of Jesus would happen within the same lifetime of those early disciples or soon after. People were prepared for this world to end and the understanding that Jesus had conquered death so it was no longer something to fear as opposed to the promise of resurrection.