Church buildings in the Christian empire were carefully designed to emphasize the new hierarchy of Christ and emperor. The style was borrowed from the East. A Greek traveler visited Persia in the second century and described a palace in which there was “a hall covered with a dome; the inside was adorned with sapphires sparkling with a celestial blue brilliance, and standing out against the blue background of the stones were golden images of the gods, glittering like stars in the firmament.” This became the pattern for the mosaic-encrusted interiors of Byzantine churches—displaying, if not “golden images of the gods,” at least God and the “demigod” emperor who represented him on earth.
Architecture
Erken Ortaçağ Kiliselerinde Gizem ve Hayranlık
One constant feature of early medieval churches throughout the period was the sense of wonder they evoked in the visitor. They were complex, intriguing, narrow, high spaces, with many openings, crypts, staircases, towers, and balconies. With dark interiors, lit by smoky lamps, which illuminated glittering treasures, wall hangings, sculpture, and wall paintings in the flickering light, they were designed to be confusing and mysterious. Wulfstan of Winchester described the New Minster, saying: “If someone were to walk through the interior of the church with unfamiliar steps he would not know whence he came, nor how to retract his steps, because in every direction open doorways may be seen and there is no sure route apparent to him”
18.yy Britanya Mimari Anlayışı
The dominant architectural style of the eighteenth century had been inspired by classical Greece and Rome, as if to proclaim that Britain was the true successor of democracy and civilisation.