Dome in the context of "Ancient Roman architecture"

A church, church building, or chapel is a building used for Christian worship services and Christian activities. The earliest identified Christian church is a house church founded between 233 AD and 256 AD. The word church also describes a body or assembly of Christian believers, while "the Church" refers to the worldwide Christian religious community.

In traditional Christian architecture, the plan view of a church often forms a Christian cross. The center aisle and seating create the vertical beam, while the bema and altar form the horizontal arms. Towers or domes rise above the heaven-facing roof line to encourage contemplation of the divine. Modern churches employ varied architectural styles, and many buildings originally designed for other purposes have been converted to churches. From the 11th to the 14th centuries, Western Europe experienced a wave of church construction.

Filippo di ser Brunellesco di Lippo Lapi (1377 – 15 April 1446), commonly known as Filippo Brunelleschi (/ˌbruːnəˈlɛski/ BROO-nə-LESK-ee; Italian: [fiˈlippo brunelˈleski]) and also nicknamed Pippo by Leon Battista Alberti, was an Italian architect, designer, goldsmith, and sculptor. He is considered to be a founding father of Renaissance architecture. He is recognized as the first modern engineer, planner, and sole construction supervisor. In 1421, Brunelleschi became the first person to receive a patent in the Western world. He is most famous for designing the dome of the Florence Cathedral, and for the mathematical technique of linear perspective in art which governed pictorial depictions of space until the late 19th century and influenced the rise of modern science. His accomplishments also include other architectural works, sculpture, mathematics, engineering, and ship design. Most surviving works can be found in Florence.

The Roman architectural revolution, also known as the concrete revolution, is the name sometimes given to the widespread use in Roman architecture of the previously little-used architectural forms of the arch, vault, and dome. For the first time in Europe, possibly in the world (earlier experiments with arches in Ancient Egypt and Mesopotamia notwithstanding), the potential of these elements was fully appreciated and exploited in the construction of a wide range of civil engineering structures, public buildings, and military facilities. Throughout the Roman Empire, from Syria to Scotland, engineers erected structures using semicircular arches. The first use of arches was for civic structures, like drains and city gates. Later the arches were utilized for major civic buildings bridges and aqueducts, with the outstanding 1st century AD examples provided by the Colosseum, Pont Du Gard, and the aqueduct of Segovia. The introduction of the ceremonial triumphal arch dates back to Roman Republic, although the best examples are from the imperial times (Arch of Augustus at Susa, Arch of Titus).

A crucial factor in this development that saw a trend to monumental architecture was the invention of Roman concrete (also called opus caementicium), which led to the liberation of the shape from the dictate of the traditional materials of stone and brick.

A planetarium (pl.: planetariums or planetaria) is a theatre built primarily for presenting educational and entertaining shows about astronomy and the night sky, or for training in celestial navigation.

A dominant feature of most planetariums is the large dome-shaped projection screen onto which scenes of stars, planets, and other celestial objects can be made to appear and move realistically to simulate their motion. The projection can be created in various ways, such as a star ball, slide projector, video, fulldome projector systems, and lasers. Typical systems can be set to simulate the sky at any point in time, past or present, and often to depict the night sky as it would appear from any point of latitude on Earth.

This is a list of Byzantine inventions. The Byzantine or Eastern Roman Empire represented the continuation of the Roman Empire after a part of it collapsed. Its main characteristics were Roman state traditions, Greek culture and Christian faith.

The Kunsthistorisches Museum Wien (lit. "Vienna Museum of Art History", often referred to as the "Museum of Fine Arts, Vienna") is an art museum in Vienna, Austria. Housed in its festive palatial building on the Vienna Ring Road, it is crowned with an octagonal dome. The term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country.

Emperor Franz Joseph I of Austria-Hungary opened the facility around 1891 at the same time as the Natural History Museum, Vienna which has a similar design and is directly across Maria-Theresien-Platz. The two buildings were constructed between 1871 and 1891 according to plans by Gottfried Semper and Baron Karl von Hasenauer. The emperor commissioned the two Ringstraße museums to create a suitable home for the Habsburgs' formidable art collection and to make it accessible to the general public. The buildings are rectangular, with symmetrical Renaissance Revival façades of sandstone lined with large arched windows on the main levels and topped with octagonal domes 60 metres (200 ft) high. The interiors of the museums are lavishly decorated with marble, stucco ornamentation, gold-leaf, and murals. The grand stairway features paintings by Gustav Klimt, Ernst Klimt, Franz Matsch, Hans Makart and Mihály Munkácsy.

This is a list of tallest Orthodox church buildings in the world, all those higher than 70 metres.

Traditionally, an Orthodox church building is crowned by one or several domes with Orthodox crosses on the top of each. The overall height of the temple is measured by the highest point of the cross above the main temple.

In Christian iconography, Christ Pantocrator (Ancient Greek: Χριστὸς Παντοκράτωρ, lit. 'Christ the Almighty') is a specific depiction of Christ. Pantocrator or Pantokrator, literally 'ruler of all', but usually translated as 'almighty' or 'all-powerful', is derived from one of many names of God in Judaism.

The Pantokrator is largely an Eastern Orthodox, Eastern Catholic or Eastern Lutheran theological conception and is less common under that name in Latin Catholicism and Western Lutheranism. In the West, the equivalent image in art is known as Christ in Majesty, which developed a rather different iconography. Christ Pantocrator has come to suggest Christ as a benevolent, though also stern and all-powerful, judge of humanity.