米兰大教堂英文

教堂是 基督 各流派举行礼拜、弥撒等宗教事宜的地方，它不仅是基督信众宗教生活中的重要场所，更因它本身所体现的各式各样的建筑艺术而成为所在地的重要组成部分，如热门景点，甚至地标性建筑等。那么就让 城市文化 为你介绍世界第二大教堂，意大利米兰大教堂。

意大利米兰大教堂（Duomo di Milano），是意大利著名的天主，又称“杜莫堂”，位于意大利米兰市，是米兰的主座教堂，它是规模居世界第二位的大教堂，也是世界上最大的哥特式建筑之一。

公元1386年，第一位米兰公爵吉安·加莱亚佐·维斯孔蒂（Galeazzo Visconti Ⅲ）下令兴建米兰大教堂，各国工程师纷纷设计方案。维斯孔蒂公爵希望这一举措能感动上帝，赐他一个男性继承人。

而于这一年开工的米兰大教堂，直到1500年才完成拱顶，1774年中央塔上的镀金圣母玛丽亚雕像就位，1813年教堂的大部分建筑完工，此后依然处于建造中，1897年最后完工，直到1965年教堂正面最后一座铜门被安装，才算全部竣工，整个建造过程历时五个世纪。

米兰大教堂是欧洲中世纪最大的教堂，其长158米，最宽处93米。塔尖最高处达108.5米。总面积11700平方米，可容纳35000人。教堂全由白色大理石筑成，大厅宽达59米，长130米，中间拱顶最高45米。

米兰大教堂的建筑风格十分独特，上半部分是哥特式的尖塔，下半部分是典型的巴洛克式（Baroque）风格，从上而下满饰雕塑，极尽繁复精美，是文艺复兴时期具有代表性的建筑物。

米兰大教堂的特点在它的雕刻和尖塔。尖拱、壁柱、花窗棂，135座尖塔组成浓密的塔林刺向天空，并且每个塔尖上都有精致的人物雕像。教堂的外部总共有3159尊雕像，连内部雕像计算在内，则总共有6000多个雕像，是世界上雕像最多的哥特式教堂。

作为世界上雕塑最多、尖塔也最多的建筑，米兰大教堂被誉为“大理石山”，而在135座哥特式大理石尖塔中，最引人注目的无疑是最高的中央塔，高达108米，也是教堂的最高点。中央塔出自15世纪意大利建筑巨匠伯鲁诺列斯基之手。

中央塔塔尖上的圣母玛利亚（Lady of Assumption）雕像于1774年建成，高4.2米，为镀金铜像，身裹3900多片金叶片，重700多公斤，整个圣母像在阳光下光辉夺目，神奇而又壮丽，大教堂最初的正式名称“圣母诞生大教堂”，据说就是由此而来。

米兰大教堂在西方宗教界的地位极其重要，著名的《米兰赦令》就从这里颁布，这份赦令使得基督合法化，成为罗马帝国国教。而米兰大教堂本身还是世界上最大的教区——天主米兰总教区的教堂。

可以说，米兰大教堂不仅仅是一个教堂，一栋建筑，它更是米兰的精神象征和标志，是欧洲中世纪历史的见证者，也是世界建筑史和世界文明史上的奇迹。

Church of Duomo ( Churchof Duomo ), Italy's famous Catholic Church, also known as" duomo cathedral", is located in Italy Milan City, dimensions resides the world the second. Milan is located in the south of the Alps Aron the river, is a long history of the ancient city, is the second largest city in Italy. It was the year 1386the construction, completed in 15001774 the central tower vault, gold on the virgin Maria statue. In 1897 the last completed, during the five century. Not only is the symbol of Milan, is also the center of Milan. Napoleon in 1805 in Church of Duomo held a coronation ceremony.米兰大教堂（Churchof Duomo），意大利著名的天主教堂，又称“杜莫主教堂”，位于意大利米兰市，规模居世界第二。米兰位于阿尔卑斯山南麓奥隆那河畔，是一座历史悠久的古老名城，是意大利的第二大城市。它 于公元1386年开工建造，1500年完成拱顶，1774年中央塔上的镀金圣母玛丽亚雕像就位。1897年最后完工，历时五个世纪。不仅是米兰的象征，也是米兰的中心。拿破仑曾于1805年在米兰大教堂举行加冕仪式。教你个办法，以后这种问题先上百度百科找中文简介，然后再在百度或其他翻译里翻译，很快的！

As you wander around Pompeii， it is strange to thinkAs you wander around Pompeii， it is strange to think that you are walking along the same pavements and streets as people did over 2000 years ago. The roads are paved with slabs of grey， volcanic rock from Vesuvius - just like the streets of nearby Naples today.The pavements were a lot higher than the level of road - for a very good reason. Not only did the road act as a drain for rainwater， but it also carried away a lot of rubbish and even sewage. This made it rather unpleasant to cross， so there were stepping stones to help people keep their feet clean.The stepping stones were arranged with gaps so that the wheels of carts could pass through. We know that the streets of Pompeii carried a lot of wheeled traffic， because there are deep grooves where the wheels have worn away.

然它的名字Duomo是“圆顶”的意思，米兰大教堂实际上却是一座哥特式建筑。雄踞在市中心的米兰大教堂始建于1386年，历经500年才完工，被誉为意大利最壮丽的哥特式建筑。 数以百计的尖塔耸入云霄，白色大理石外墙上雕刻着数千座雕像。内部空间宽广，阳光透过窗上美丽的彩色玻璃镶嵌画射入，光线朦胧，充满庄严的宗教气氛。教堂地下室中还保留着原址上的圣·特库拉教堂的遗迹。 大教堂不仅是米兰的象征，也是米兰的中心。登上大教堂屋顶平台，可以看到3条环形大道和其间密如蛛网的街道。Duomo, Florence A distinctive feature of Florence's skyline is the dome of the cathedral (Duomo), Santa Maria del Fiore. The building itself, located due north of the Piazza della Signoria, was begun by the sculptor Arnolfo di Cambio in 1296. Numerous local artists continued to work on it during the following century and a half. The painter Giotto designed its sturdy bell tower (campanile) in 1334. Yet, the massive octagonal cupola (1420-36) that truly dominates both the church and the city was the proud achievement of Filippo Brunelleschi, master architect and sculptor. Opposite the cathedral stands the Baptistery; the building dates from the 11th century but was believed by Florentines to be a surviving Roman monument when they commissioned for it a series of bronze doors with relief sculptures (1330; 1401-52). The third pair of these doors, by Lorenzo Ghiberti, were of such rare beauty that Michelangelo christened them the " Gates of Paradise." The cathedral of Florence itself had been begun in the Gothic style by Arnolfo di Cambio in 1296. But in 1366 the City of Florence, following the advice of certain painters and sculptors, decided that the Gothic should no longer be used and that all new work should follow Roman forms, including an octagonal dome 42 metres in span to be built at the east end of the nave. The dome was not built until the early 15th century, when Filippo Brunelleschi, a goldsmith and sculptor, began to make statues for the cathedral. Gradually he became interested in the building itself and built some smaller parts of it. In about 1415 he prepared a design for the dome that he daringly proposed to build without the aid of formwork, which had been absolutely necessary in all previous Roman and Gothic construction. He built a 1:12 model of the dome in brick to demonstrate his method; the design was accepted and built under his supervision from 1420 to 1436. Brunelleschi's dome consists of two layers, an inner dome spanning the diameter and a parallel outer shell to protect it from the weather and give it a more pleasing external form. Both domes are supported by 24 stone half arches, or ribs, of circular form, 2.1 metres (seven feet) thick at the base and tapering to 1.5 metres (five feet), which meet at an open stone compression ring at the top. To resist outward thrust, tie rings of stone held together with metal cramps run horizontally between the ribs. There are also tie rings of oak timbers joined by metal connectors. The spaces between the ribs and tie rings are spanned by the inner and outer shells, which are of stone for the first 7.1 metres and brick above. The entire structure was built without formwork, the circular profiles of the ribs and rings being maintained by a system of measuring wires fixed at the centres of curvature. Brunelleschi obviously understood enough about the structural behaviour of the dome to know that, if it were built in horizontal layers, it would always be stable and not require timber centring. He also designed elaborate wooden machines to move the needed building materials both vertically and horizontally. Having all but equaled the span of the Pantheon in stone, Brunelleschi was hailed as the man who "renewed Roman masonry work"; the dome was established as the paragon of built form.