Affiliation:Roman Catholic
Ecclesiastical or organizational status:Rectory Church
Leadership:Msgr. Agostino de Angelis
Year consecrated:1660
Location:Rome, Italy
Architect(s):Francesco Borromini
Type:Church
Style:Baroque
Groundbreaking:1642
Completed:1660
Direction of façade:East-northeast
Length:27 metres (89 ft)
Width:26 metres (85 ft)

所屬:羅馬天主教
教會或組織狀態:教區教堂
領導: 阿戈斯蒂諾·德·安吉利斯(Agostino de Angelis)
奉獻年份:1660
地點:意大利羅馬
建築師:Francesco Borromini
類型:教堂
風格:巴洛克
開創性:1642
已完成:1660
外立面方向:東北-東北
長度:27米(89英尺)
闊度:26公尺(85英尺)


Sant’Ivo alla Sapienza (lit. ‘Saint Ivo at the Sapienza (University of Rome)’) is a Roman Catholic church in Rome. Built in 1642-1660 by the architect Francesco Borromini, the church is widely regarded a masterpiece of Roman Baroque architecture.

The church is at the rear of a courtyard at 40, Corso del Rinascimento; the complex is now used by the State Archives of Rome.

Sant’Ivo alla Sapienza(點燃。“ Sapienza的Saint Ivo(羅馬大學)”)是羅馬的羅馬天主教會。 這座教堂由建築師Francesco Borromini於1642-1660年建造,被廣泛認為是羅馬巴洛克式建築的傑作。

教堂位於Corso del Rinascimento 40號院落的後院。 該建築群現在被羅馬國家檔案館使用。

The church rises at the end of a courtyard, known as the courtyard of Giacomo della Porta. The façade is concave, molding the church into the courtyard as if completing it rather than disrupting it. The façade itself looks like a continuation of the courtyard arches except with the openings filled in with small windows, a door, and a larger glass window above the door. Above the façade is a large parapet structure so that only the higher stages of the church is seen past the façade. A key exterior aspect is the top of the church: the lantern of Sant’Ivo is topped with a spiral shape, surmounted by a Cross.

教堂位於庭院的盡頭,該庭院被稱為Giacomo della Porta的庭院。 外牆是凹面的,將教堂塑造成院子,彷彿是在完成而不是破壞它。 外立面本身看起來像是院子拱門的延續,除了開口處充滿了小窗戶,一扇門和門上方的一扇更大的玻璃窗。 立面上方是一個大型護牆結構,因此只能從立面上方看到教堂的較高層。 教堂的外部是一個關鍵的外觀:聖伊沃的燈籠頂部是螺旋形,上面是十字架。

The interior of Sant’Ivo is unique because of the shapes incorporated into the rotunda. Borromini was well known for fusing of geometrical shapes as well as his pairing of columns in order to facilitate curves, incorporating them in a harmonious manner in his project at San Carlino. But for Sant’Ivo, Borromini did not blend the different shapes. The rotunda of Sant’Ivo is contrived of distinct shapes, a triangle with its three angles cut as if bitten off, and semi-circles located in between the triangle’s three lines. Despite the shift from the smooth geometrical alignments of San Carlino to the sharper abrupt geometrical bends in Sant’Ivo, both buildings exhibit harmony between the sharp edges and the curves and spheres. Borromini utilized curves (semi-circles) and edges (clipped triangle tips) in equal amounts to define the shape of the rotunda. This blending of edges and curves is arguably Borromini’s most distinguishable signature.

Sant’Ivo的內部是獨一無二的,因為圓形大廳中融入了各種形狀。 Borromini因融合幾何形狀以及成對的圓柱以促進曲線而聞名,以和諧的方式將其合併到他在San Carlino的項目中。 但是對於聖伊沃(Sant’Ivo),Borromini並未融合不同的形狀。 Sant’Ivo的圓形大廳設計有獨特的形狀,一個三角形,其三個角度像被咬掉一樣被切開,半圓位於三角形的三條線之間。 儘管從聖卡利諾(San Carlino)的平滑幾何對齊方式轉變為聖伊沃(Sant’Ivo)的陡峭幾何彎曲,但兩座建築物的尖銳邊緣與曲線和球體之間卻保持和諧。 Borromini利用等量的曲線(半圓)和邊緣(三角形的尖端)定義了圓形大廳的形狀。 邊緣和曲線的這種混合可以說是Borromini最鮮明的特徵。

Another detail is that windows associated with the round sections of the dome are larger than those associated with the edges. One of the edgy sections is where the entrance is located while the altar is located on the opposite end, a round section. The two other round and edgy sections to the sides are identical in features . Through the perforations in the lantern, sunlight illuminates the dome through an oculi. Francesco Borromini had a talisman with the shape of a flying bee installed in the roof of the lantern as this is a symbol of the family of Urban VIII Barberini who patronized the construction of Sant’Ivo.

另一個細節是,與圓頂的圓形部分關聯的窗口大於與邊緣的關聯窗口。 鋒利的部分之一是入口所在的位置,而祭壇位於另一端的圓形部分。 側面的另外兩個圓形和前衛部分的特徵相同。 通過燈籠上的穿孔,陽光通過小孔照亮圓頂。 弗朗切斯科·波羅米尼(Francesco Borromini)的護身符安裝在燈籠的屋頂上,上面有飛蜂的形狀,因為這是巴貝里尼八世(Urban VIII Barberini)家族的象徵,後者贊助了聖伊沃的建築。

The aisles of arches surrounding the right and left wings of the bird or of Sant’Ivo are themselves not halted by the church. Here, the space between the arches and the walls in the aisles still continues past the church’s sides. Each aisle has a single lateral entrance to the church. These hindered side entrances lead to hexagonal rooms (one on each side), and these hexagonal rooms are connected to the rotunda as well as the smaller façade windows. Behind the Altar to the rear of the church lies two more hexagonal rooms with windows aligned on the back. To the rear wings of the altar are the passages leading to the two separate hexagonal rear rooms.

鳥兒或聖伊沃的左右翅膀周圍的拱形過道本身並沒有被教堂阻止。在這裡,拱門和過道牆壁之間的空間仍然延續到教堂兩側。每個過道都有一個通往教堂的側面入口。這些受阻礙的側面入口通向六角形的房間(每側一個),這些六角形的房間與圓形大廳以及較小的立面窗戶相連。教堂後方的祭壇後面是另外兩個六角形的房間,背面的窗戶對齊。通往祭壇後翼的通道通向兩個單獨的六角形後室。

The inside walls and dome of the rotunda were covered by Borromini with sculptures and motifs. On each edgy and round section there are columns of stars leading up to an angel’s face with wings. One close observable difference between the round segments and the edgy ones is that the round ones exhibit a motif of six eggs in a pyramid formation with three crowns holding them together while the edgy segments exhibit a bouquet of flowers held together by a single crown.

圓形大廳的內牆和圓頂被博羅米尼覆蓋,上面有雕塑和圖案。 在每個前衛和圓形區域中,都有幾列恆星通向帶有翅膀的天使的臉。 圓形部分和前鋒部分之間的一個可觀察到的區別是,圓形部分顯示出六個蛋的金字塔狀圖案,三個冠將它們保持在一起,而前鋒部分則顯示出一束由一束冠在一起的花朵。

The main altarpiece depicts the Charity of St Ivo by Giovanni Ventura Borghesi.

主祭壇畫描繪了喬瓦尼·文圖拉·博爾蓋西(Giovanni Ventura Borghesi)的聖伊沃慈善組織。

sant’ Ivo alla Sapienza

FROM:https://en.wikipedia.org/wiki/Sant%27Ivo_alla_Sapienza

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