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St.
Georges Church:
Architectural Analysis
By Sveta |
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The philosophy of Liberty is based on the principle of Self-Ownership
>all kinds of socialism cause poverty< |
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A page that over and above its political content also shows the world and environment of people who stand for their libertarian ideas.
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click
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Denk mal nach... |
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Text deutsch/englisch Redaktion: Carlo Canvas |
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Think about it... |
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"Mit der
Abschaffung der Meinungsfreiheit, zunächst in
bestimmten Bereichen, wurde der Weg zur Abschaffung
des Rechtsstaates, der Weg in die Knechtschaft,
betreten.
Denn wo die
Wahrheit gering geschätzt wird, geht bald die
Freiheit verloren."
Gerard Radnitzky
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„Den Islam sehe
ich als eine außerordentliche Bedrohung an, als eine
feindliche Gesellschaft."
Pim
Fortuyn
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"Capitalism gave
the world what it needed, a higher standard of
living for a steadily increasing number of people."
Ludwig von Mises
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"Libertarians
first and foremost trust themselves. They do not
scream for help and demand that the Government
should provide “comforters” and an all-round social
care system."
Robin
Renitent
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"Diejenigen,
die den von
Palästinensern ausgehenden Terror als
„Freiheitskampf“ verkaufen und Israel ein
Notwehrrecht absprechen, die die positiven Seiten
dieses einzigen respektablen Rechtssystems in Nahost
leugnen, widern uns in ihrer ideologischen
Unaufrichtigkeit an.´"
Robin
Renitent
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"Unfortunately, history shows that running an empire
is a disastrouly expensive business. You pay in
cash. You pay in blood. And you pay with your own
soul."
Bill
Bonner
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"Nirgendwo
wird die Würde der Frau so verletzt wie in der
islamischen Gesellschaft.
Die
Geschichte des Islam ist eine einzige Entwürdigung
der Frau und das bis zur Stunde.
Und ich will
das sagen dürfen, auch wenn es radikalen Muslimen
nicht gefällt. "
Ralph Giordano
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"Gibt
es irgendwo auf unserem Planeten ein Land, das an zu
wenig Staat leidet? Wann, wo und wie hat es das
jemals gegeben?!
Es
hat Länder gegeben die gelitten haben, weil ihre
Armee zu klein oder zu schwach war, aber niemals,
weil ihre Regierung zu klein gewesen wäre."
Richard Daughty
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St. Georges
Round Church, named after one of the famous Christian martyrs,
stands at the corner of Brunswick and Cornwallis Streets. Elevated on the hill,
overlooking the harbour, it harmoniously includes the existing
landscape conditions into the building plan. The stairs connect
the street level with the floor of the main entrance and the next
set of stairs connect this level with the main floor of the
church. Originally built in a Palladian style it has undergone
alterations and reconstructions, so today’s plan of the church
could be devided into five parts. The original two hundred year
old rotunda is still the central part of St George’s Church. The
main aisle, or the nave, cuts it from east to west into two
symmetrical halves, giving the building the main axis. The east
end of the nave leads through the set of doors to the main
entrance. The west end is approaching the chancel, the third
identifiable part of the church. The last two additions, the
orgelroom with back entrance and clergy room are attached to the
rotunda and north and south walls of the altar. The rotunda, as
the the originally central planned church dictates the proportions
for the later attached parts.
The floor plan of the entrance is an almost
perfect square, distorted only at the corners where it is attached
to the circular outer wall of the Round church. The length and
width of the basic square of the entrance equals the length of the
radius of the rotunda. The floor plan of the chancel measures
three quarters of the rotunda’s radius in width and approximately
the equal size of the radius in length. The east end is connected
to the church’s main rotunda and opens to its interior, the west
ends wall has a semicircular shape or the apse, forming St.
Georges smaller second rotunda. Two symmetrical buildings on
both sides of the altar have the same width, equal to the half
width of the chancel, their length follows north and south walls
of altar, ending before the west wall begins to form the smaller
rotunda. There is a small porch at the entrance to the clergy
room. Together, the chancel and two additional buildings at the
west side of the church, intentionally planned or not, have a
shape of a triptych or a three parts winged altar, their combined
width equals three quarters of the rotunda’s diameter. The length
of the entrance and the altar equals the radius length of the
rotunda. The length of the entire chirch equals double length of
rotunda. Overall, the lengths and widths of the five parts
of the Round church point out that throughout the different stages
of construction, the proportions of all new parts were based on
the size of the original rotunda.
The facade
and exterior walls of the building are covered in bluish-grey
siding, the wooden pilasters imitating supporting columns, and the
window frames are painted white. The plain design of the church’s
pilasters with unfluted shaft, simple capital and base, are very
chracteristic of the Tuscan order, the
simplified adaptation of the Doric order by the Romans.
The main rotunda has
three classical stories: lover, upper and dome. The lower level
has four windows on each side, the upper level has five windows on
the south side and four on the north. The roof of the rotunda
supports the saucer dome, its diameter is approximately half of
the diameter of the rotunda. The dome is crowned by a cupola. The
heights of the later added parts were adjacent to the rotundas.
The chancel has two stories with four windows on the upper level.
The lower level of the main entrance is connected to the lower
level of the rotunda by stairs, the upper part of this structure
with an arched window is on the same level as rotunda’s upper
story. The clergy room with two windows is only one story high,
while the orgel room on the other side of the chancel is two
stories high, has a small back entrance and no windows.
The facade of classical dimensions, length
equalling double height, superimposes different elements. As a
whole, it reminds of the temple front with missing pediment. The
entablature has three main classical elements: the architrave, the
plain frieze and cornice with dentils, typical for Ionic and
Corinthian orders. The length of the entablature rests on four
Tuscan pilasters: two corner pilasters and two just a short
distance beside them. In the middle, between the tall pilasters
are three dark painted doors, set in the frames of triumphal
arches with lower Tuscan pilasters on each side and windows in the
arched central sections. The roof of the main entrance supports
the almost cubical plain structure with an arched window and a set
of dentils below the cornice of the roof. Inside the structure is
the staircase.
The main doors lead into the small enclosed
porch. From there, the set of five dark wooden doors leads into
the vestibule with a staircase to the main rotunda of the church.
The five doors support the beam of the same wood and an arched
window above each door. Beyond them, the wide dark wooden stairs
with railings, supported by carved balusters, lead to the next
floor on the same level with the main floor of the rotunda. Three
double doors and two Tuscan order pilasters on which rests the
interior entablatur with architrave, frieze, cornice and even
dentils, mark the entrance into the oldest part of the St.
Georges. The rich dark colour of the wood, contrasting with the
whiteness of the walls and the burgundy carpet are the only noted
decorations in this part of the church structure.
The rotunda,
originally enclosing the entire church, today provides the space
for the congregation. The nave cuts the pews in the middle and the
entire room into two equal halves. Two side aisles follow the
circular path dividing the central pews from those, which lines
the sides of the rotunda. The eight rectangular windows of the
lower level consists of twenty four lights separated by mullions.
Each big window is framed by moldings similar to the Tuscan
pilasters with additional square base. Between the windows,
adorning the walls, are more plain Tuscan order pilasters and the
memorial plates of different classical designs. Six Tuscan
columns, arranged in a semi-circle on each side of the nave and
positioned between the central pews, support the entablature of
the second story gallery with the railing and carved ballusters.
The gallery, following the shape of the rotunda, is interrupted
only on the west end of the church axel where the rotunda is
connected to the chancel. The rows of the gallery’s pews line up
the walls in the same fashion as on the lower level. The windows
too have twenty four lights, forming the rectanqular shape, but
with an added round-headed arch of six lights on top. The same
style plane pilasters are placed between the windows. The gallery
is high enough for the additional semi-circular balcony on the
east side, facing the chancel. The gallery’s entablature,
supported by columns of the lower level, provides the platform for
the next order in the same number. The upper level Tuscan columns,
rest on the cubical bases between railing segments, and are
connected to each other’s capitals by arches, forming the support
for the entablature of the structure of the dome.
The
dome, crowning the church, consists of two shells. The inside
shell is built of twelve blue colored segments, connected by
golden ribs. The outside shell sits on the circular base with a
row of windows. The outside walls of the base are covered with the
same grey-bluish siding, as the whole church and the row of the
dentils is the only decoration of this part. In between two
shells, there is an attic and a stair case, leading into cupola
with an outside belvedair and a weathervane in form of Halley’s
Comet. Cupola shelters the church’s bell. The chancel, two
stories high has no windows at the lower level, but a clerestory
row of four windows at the upper level. The arched windows are
decorated with half arched moldings on the top. The aisle between
choir pews leads to the four steps of the high altar. Triptych, or
a three part winged altar, is fixed against the circular west
wall. The right and left wings are formed by two pairs of Tuscan
order columns, supporting the entablature structure with corniche
and prominent dentils. An arch, connecting those two wings,
defines the middle part. The altar table is decorated with
candles, flowers and a golden cross. Big orgel is built into the
room on the north side of the chancel. Of all the parts in the
church, the chancel is the most decorated space. Wrapped around
its lower level is the wallpaper, resembling in design those of
the Arts and Crafts Movement. On the pale pink background there
are rows of medallions in sage green, burgundy and blue colours,
with symbols of fleur-de-lis, crowns and exotic flowers. A band in
golden colour with inscriptions trims the upper edge of the
wallpaper; the dark wooden panels cover the bottom part. The
prominent spot in the arched middle part of the winged altar is
painted the same blue as the dome and fixtures, the symbol of the
crown with the radiating rays of light and word Jesus in a golden
color. The passage between the chancel and the rotunda and
two ends of the interrupted almost circular gallery is marked by
decorative intersecting vaults. The clergy room is closed to the
public, the other small room is a plane back entrance.
There is probably no
definite answer to the question of whether Leon Battista Alberti
would enjoy this church or not. We can only take his ideas and
analyze them one by one. He would probably approve of the elevated
position of the building, which sets it apart from the surrounded
structures. There is no beautiful square, but we have to keep in
mind that at the time that the church was originally built, the
houses around it were in lesser numbers and represented a more
harmonious architectural ensemble. The facade has some classical
temple front fixtures, but Alberti would probably find the absence
of the pediment troublesome. The dome, built in saucer design,
suggests cosmic existence. The colour scheme of the outside as
well as the inside is cool and harmonious. All ornaments are
classical, there are no sculptures, but the memorial plates have
distinct classical futures. There are no paintings, or frescos,
but decorative wallpaper decorates the chancel, as well as
inscriptions to stimulate the mind.
There are a number of characteristics which
go against Alberti’s theory. The missing pediment and the not very
prominent pilasters, or even lack of the columns, take the front
away from a classical temple image. The church has more windows
than Alberti had ever imagined and the decoration, without any
precious materials, is more sparce as in his own work. The fence
around the prorperty and the surrounding modern buildings worsen
the outside picture. The original plan of the church in
neoclassical style, and the second plan, would have been preferred
over the final construction, but the orgel addition was no small
matter and the problem would not have been resolved without the
last additions. Overall, Alberti would likely not have disapproved
of the current state of the church, but nonetheless, may have made
propositions of how to beautify it.
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Online Translator.
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We seem to have overcome
Soviet
fascism, though the heirs
of Nazi-fascism live; but the biggest threat
to freedom
lies
in Islamic fascism.
Freedom is not
self-evident.
We are
at war – and we have to defend ourselves.
For the sake of
our
children.
Freedom knows
no compromise!
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"Europa ist nicht mehr Europa, es ist 'Eurabien',
eine Kolonie des Islam, wo die islamische Invasion
nicht nur physisch voranschreitet, sondern auch auf
geistiger und kultureller Ebene."
Oriana Fallaci
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"Seit
den Anfängen der Geschichte stehen sich die beiden
Antagonisten gegenüber: der Schöpfer und der
Schmarotzer. Als der erste Schöpfer das Rad erfand,
tat der erste Schmarotzer den Gegenzug. Er erfand
den Altruismus."
Ayn
Rand
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"Wir
sind keine Bürger mehr, wir sind Untertanen, bloße
Zuschauer am Schicksal, das andere für uns gewählt
haben. Wir sind nur dann Bürger, wenn wir echten
Einfluss darauf haben, wie unsere Steuergelder
ausgegeben werden. Wir sind Untertanen, wenn wir die
Steuern einfach nur bezahlen, während andere
entscheiden, was mit diesem Geld gemacht wird.
"
(Robert Spencer)
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"Tyranny is a
political corollary of socialism, as representative
government is the political corollary of the market
economy."
Ludwig von Mises
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"There
is no comparable contractual relationship between
the state and its citizens. Therefore we resist the
enforcement-monopolistic state."
Robin
Renitent
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"Der Islam
vertröstet
auf das
Paradies, die Sozial-
demokraten
auf eine Besserung in zehn oder zwanzig Jahren."
Ayaan Hirsi Ali
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"Es gibt eben
keine andere Wahl als die: entweder von Eingriffen
in das Spiel des Marktes abzusehen oder aber die
gesamte Leitung der Produktion und der Verteilung an
die Obrigkeit zu übertragen. Entweder Kapitalismus
oder Sozialismus; ein Mittelding gibt es nicht."
Ludwig von Mises
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"Public interest
criteria" does not mean criteria that the public
decides are in its interest. It means that the elite
– via various appointed bodies – decide what the
public’s interest is for them."
Mark Steyn
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"Es
gibt keine einfachere, keine wirksamere und keine
dauerhaft verläßlichere Methode der
Herrschafts-beschränkung (und damit der
Freiheitssicherung) als dem Herrschaftsapparat die
Verfügungsmacht über das Geld zu entziehen."
Roland Baader
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rebellog stands for:
Libertarianism – Anarchism - Anarchistic-Capitalism - Self-Governance - Individualism - Free-Trade - Global Competition - Right to Self-Defence – Cosmopolitanism - Freedom of Expression - Self-Determination – Optimism - Environmental Stewardship - Gender Equality – Liberty - Independent Thinking - Right to Bear Arms -
Critical Thinking - Right to Refuse Taxation - Right to Notaxable Income - Friendship with America and Israel - Right to Abortion-Pornography - Prostitution - Mild Stimulants
rebellog rejects:
Conservativism-Social - Democratism-Liberalism - Socialism-Collectivism - Government Control - Collectivism-Majority Rule - Protectionism -Tarifs – Duties - Wealth Redistribution – Nationalism – Censorship - Extreme Social Programs - Passivism-Nihilism - Environmental Fanaticism - Feminism – Quotas - Peace Activism - Fad Activism - Arms Control -
Intellactual Submissivness - Compulsive Government Taxation - Unions -Government Employment Regulation - Anti-Americanism - Anti-Semitism - Government Privacy Invasion
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