DOCSLIB.ORG

The Four-Story Elevation in First Gothic Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE FOUR-STORY ELEVATION IN FIRST GOTHIC ARCHITECTURE by PATRICIA ELIZABETH ANNE CAIRNIE B.A., The University of British Columbia, 1976 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE:FACULTY OF GRADUATE STUDIES Department of Fine Arts We accept this thesis as conforming to -the required standard THE UNIVERSITY OF BRITISH COLUMBIA September 1979 (c) Patricia Elizabeth Anne Cairnie, 1979 In presenting this thesis in partial fulfilment of the requirements f< an advanced degree at the University of British Columbia, I agree tha the Library shall make it freely available for reference and study. I further agree that permission for-extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Klffj£ Avf? The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 ABSTRACT One of the principal elements in First Gothic architecture of northern France was the appearance of the four-story elevation as a means of achieving spacial expansion in height. The parti was characterized by a uniform scheme - main arcade, tribune, triforium and clerestory collected in a single elevation - but was treated in various ways with respect to its structural, spacial and decorative aspects. In the chevets of Noyon, Saint-Germer and Laon the four-story elevation was employed in rapid suc• cession, in closely connected centers, based on common concerns; still, each stands as a singularly experimental manifestation of the First Gothic desire for lofty volumes. While the four-story elevation has been discussed in general arch• itectural histories of the period and in monographic studies of the indi• vidual monuments, it has never been examined in an independent context and as a central feature of First Gothic architecture. The role of the four- story elevation in the realization and expression of First Gothic princi• ples remains to be clarified. The objective of this paper is to investi- . gate the underlying principles in the early stages of the parti, by way of an examination of the chevets of Noyon, Saint-Germer and Laon. The sources for the general scheme of the four-story elevation in First Gothic are found in monuments of the Romanesque period. In the sec• ond stage of First Gothic the Romanesque thin-wall and thick-wall tech• niques were adopted and revised in accordance with the newly felt concern for vertical expansion. Hence, the widespread utilization of the scheme. However, the bases of the individualized treatments of the four- story elevations in the chevets of Noyon, Saint-Germer and Laon were not ruled by shared aesthetic considerations. In each structure the disposition of the stories and the organization of the bays, the penetration of the iii wall in depth and the articulation of the wall on its surface was deter• mined by long, local traditions and contemporary, extra-local influences. In the final analysis, it is possible to observe of the four-story elevation that the uniformity of the scheme was a response to First Gothic principles whereas the diversity of the treatment was the result of region• al variations. r iv TABLE OF CONTENTS Abstract . ii List of Tables v List of Illustrations vi Chapter I: The Four-Story Elevation and Its Romanesque Sources . 1 Chapter II: The Chevet of Noyon 8 Chapter III: The Chevet of Saint-Germer . 20 Chapter IV: The Chevet of Laon 30 Chapter V: Conclusion 41 Table . 45 Illustrations 46 Bibliography 70 Appendix: The Question of Cambrai ....... 74 V LIST OF TABLES Table 1. Percentage of Height of Main Elements to Height of Elevation ..... 45 vi LIST OF ILLUSTRATIONS Figure 1. Beauvais, Saint-Lucien. Sketch by van der Berghe 46 2. Tournai, Cathedral. Transverse section of nave. After Dehio and von Bezold 47 3. Tournai, Cathedral. Longitudinal section of nave. After Dehio and yon Bezold 48 4. Tournai, Cathedral. Nave 49 5. Noyon, Cathedral. Chevet .'r. 50 6. Noyon, Cathedral. Longitudinal sectionof chevet. After Collin 51 7. Noyon, Cathedral. Chevet. Detail of tribunes and triforium 52 8. Noyon, Cathedral. Transverse section of chevet. After Collin. 53 9. Noyon, Cathedral. Chevet 54^ 10. Noyon, Cathedral. Plan as executed to 1235. After Seymour . 55 11. Saint-Denis. Plan of chevet. After Violette-le-Duc ..... 55 12. Saint-Denis. Plan of crypt. After Crosby ' 56 13. Saint-Germain-des-Pres. Plan of chevet. After Barbier .... 57 14. Senlis, Cathedral. Reconstruction of elevation. After Moore 58 15. Saint-Germer. Longitudinal section of chevet. After Woillez 59 16. Saint-Germer. Chevet 60 17. Saint-Germer. Chevet. Detail of the tribunes. Courtesy of I. Marc Pessin 61 18. Saint-Germer. Chevet. Detail of upper stories in north straight bay. Courtesy of I. Marc Pessin 62 vii 19. Saint-Germer. Chevet. Detail of clerestory. Courtesy of I. Marc Pessin 62 20. Beauvais, Saint-Etienne. Nave 63 21. Paris, Cathedral. Nave 64 22. Laon, Cathedral. Longitudinal section. After Dehio and von Bezold 65 23. Laon, Cathedral. North transept with view into the crossing 66 24y. Laon, Cathedral. Transverse section. After Dehio and von Bezold . 67 25. Noyon, Cathedral. South transept 68 26. Reims, Saint-Remi. Chevet 69 27. Soissons, Cathedral. South transept 69 28. Cambrai, Cathedral. Plan by Boileux ..... 75 29. Cambrai, Cathedral. Sketch by van der Meulen 75 1 CHAPTER I THE FOUR-STORY ELEVATION AND ITS ROMANESQUE SOURCES In the central decades of the twelfth century, In the northern re• gion of the Ile-de-France, the four-story elevation made its appearance as one of the principal design features of First Gothic architecture. The foci of its development are to be found in the chevets of the cathed• ral at Noyon, the abbey church at Saint-Germer, and the cathedral at Laon. These structures rose at virtually simultaneous moments, in closely connected centers, and they shared common concerns; still, each stands as a highly individualized and experimental realization of the elevation of four stories. The emergence of the four-story elevation in this northern school of First Gothic did not occur without forebears of preceding years in neighboring areas. The constructional means of building in height were developed during the Romanesque period in the thin-wall and thick-wall techniques, as at Notre-Dame at Jumieges and Saint-Etienne at Caen.^ The continental scheme of the four-story elevation was prepared in the o 3 nave at Tournai^ and, perhaps, at Cambrai. While these monuments preced• ed the architecture of the years 1150-1160, the incorporation of the four- stbry elevation at Noyon, Saint-Germer, and Laon represents a radically new thesis, a new conception of vertical space that was to characterize a school of the second stage of First Gothic architecture. The cathedral of Notre-Dame at Noyon, begun ca. 1145-1150, is situated in the heartland of the Oise River basin; ninety kilometers to the south• west is the abbey church of Saint-Germer-de-Fly, begun ca. 1155-1160, and forty-five kilometers to the east in the Aisne valley is the cathedral of Notre-Dame at Laon, begun ca. 1157. From the early 1150's, ;then, 2 Picardy was a center of intense architectural activity where the desire to achieve the vertical expansion of space was a ruling consideration. The builders of this school set out to increase the height of the in• terior volumes, to devise new systems of support to raise the height of the main bearing walls as well as to devise a new elevation and range of effects to express the concern for height.^ The basis of such a thesis appears, on the one hand, somewhat removed from the concerns of the immediately preceding generation in the ile-de-France;^ from the insist• ence upon an equality of space and structure, and from a fluid commun• ication of lateral volumes which was so vigorously realized in the chevet of Saint-Denis. On the other hand, the enlargement of space was fund• amental to both schools, and the move toward the vertical expansion of space may be seen as a logical, progressive extension of the horizontal expansion of the earliest stage of First Gothic. It was, nevertheless, to the monuments of the Romanesque period that these Picard builders of the second stage of First Gothic turned to solve their constructional prob• lems of building in height. The abbey church of Saint-Lucien at Beauvais (fig. 1), begun in the closing years of the eleventh century, has been identified as one of the Romanesque buildings that served as a model in the formation of certain designs of the 1150's and 1160's.^ Its chevet was constructed in the thin- wall technique which permitted the erection of large expanses of thin mas- onry. The high walls were reinforced at regular intervals by a sequence of compound piers and buttresses, as well as by the presence of groin vaults over the tribune gallery. Moreover, the thrust of the aerial vaults, at least in the chevet if not the nave, was counteracted-by a range of quadrant arches, aligned perpendicular to the main bearing walls q and contained beneath the tribune roofs. The incorporation of these quadrant arches meant that the roofs of the tribunes had to be raised high on the exterior wall which resulted in a blind zone oh the interior between the tribunes and clerestory.''"0 The nave at Tournai, ca. 1110-1140, was yet another Romanesque struc• ture that apparently served as a prototype for the second generation of First Gothic buildings;"'"''" it was the most immediate precursor of the thick- 12 wall elevation of four stories at Noyon.
Recommended publications
  • The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The

    The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The

    The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí.
  • The Capital Sculpture of Wells Cathedral: Masons, Patrons and The

    The Capital Sculpture of Wells Cathedral: Masons, Patrons and The

    The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig.
  • Atlas Hydrogéologique Numérique De L'oise

    Atlas Hydrogéologique Numérique De L'oise

    Atlas hydrogéologique numérique de l’Oise Phase 2 : Notice Rapport d’avancement BRGM/RP-59757-FR Juin 2011 Atlas hydrogéologique numérique de l’Oise Phase 2 : Notice Rapport d’avancement BRGM/RP-59757-FR Juin 2011 Étude réalisée dans le cadre des projets de Service public du BRGM 2011 10EAUI56 V. Bault et R. Follet Vérificateur : Approbateur : Nom : J.J. Seguin Nom : D. Maton Date: 11/07/2011 Date : 12/07/2011 Signature : Signature : En l’absence de signature, notamment pour les rapports diffusés en version numérique, l’original signé est disponible aux Archives du BRGM. Le système de management de la qualité du BRGM est certifié AFAQ ISO 9001:2008. Mots clés : atlas, hydrogéologie, hydrologie, eau souterraine, eau superficielle, nappe, aquifère, bilan hydrologique, paramètres hydrodynamiques, données climatiques, piézométrie, SIG, Oise, Picardie. En bibliographie, ce rapport sera cité de la façon suivante : Bault V. et Follet R. (2011) – Atlas hydrogéologique numérique de l’Oise. Phase 2 : Notice. Rapport d’avancement. BRGM/RP-59757-FR, 168 p., 22 ill., 11 tab. © BRGM, 2011, ce document ne peut être reproduit en totalité ou en partie sans l’autorisation expresse du BRGM. Atlas hydrogéologique numérique de l’Oise. Phase 2 : Notice. Synthèse Constatant que le support et le contenu de l’atlas hydrogéologique du département de l’Oise, publié en 1987, ne répondaient plus aux besoins actuels d’informations et de consultation de ces données, le BRGM a proposé au Conseil Général de l’Oise et aux Agences de l’eau Seine-Normandie et Artois-Picardie de réaliser un atlas hydrogéologique départemental numérique pour le département de l’Oise.
  • Circuits Du Bois D'elincourt

    Circuits Du Bois D'elincourt

    Promenades et randonnées au Pays des Sources Circuit du Bois d’ ÉlincoROYE urt Élincourt-Sainte-Marguerite Destiné e circuit du Bois d’Élincourt permet MONTDIDIER la découverte d’un des plus beaux Parcours Ldomaines forestiers appartenant au Facile 1h20 5km département de l’Oise. Classé en Départ : NOYON Base Nature et « Espace Naturel Sensible », le Lassigny Randonnée du Pays des Sources massif bénéficie de mesures de protection en faveur de la faune et de 1 A - Elincourt-Ste- la flore. G V Marguerite Ressons- T sur-Matz Points forts : Élincourt-Ste-Marguerite à 4 Le château de Bellinglise remanié 12 km au nord de Compiègne et à 6 km au sud de Lassigny. du XVI ème siècle 4 À proximité du circuit n°11 de la Montagne du Paradis COMPIEGNE Massif de Thiescourt : Le château de Bellinglise R I Le refuge des chauves-souris entre de séminaire résidentiel R e massif de Thiescourt abrite plusieurs Le saviez-vous : pour les entreprises, le château espèces de chauves-souris. Les chauves-souris sont les seuls V Cde Bellinglise fut jusqu’en 2005 un LLe Vespertilion de Bechstein, le Grand mammifères doués du vol actif comme les U hôtel restaurant 4 étoiles réputé. Murin, l’Oreillard roux, le Petit Rhinolophe oiseaux. Animaux nocturnes, ils se dirigent O et autres noctules sont régulièrement en émettant des ultrasons qui se répercu - C L’édifice que vous pouvez admirer observés dans les bois environnants. tent sur les proies ou les obstacles « écho É au retour du circuit du Bois La présence d’anciennes carrières localise ». Essentiellement insectivores, D d’Élincourt est une construction souterraines et l’existence d’un réseau certaines espèces de chauves-souris sont remaniée.
  • Gable Roof, Often Decorated Or Pierced in Victorian Houses

    Gable Roof, Often Decorated Or Pierced in Victorian Houses

    Part E Appendices Village of Maple Heritage Conservation District Plan 141 Appendix A: Glossary of Architectural Terms Italicised words are defined in other entries. ABA rhythm: a pattern of alternating bays. Other rhythms might be ABBA, or AABBAA, for example. Arcade: a running series of arches, supported on piers or columns. Arch: a curved structure over an opening, supported by mutual lateral pressure. Architrave: The lowest division of an entablature. Ashlar: Squared stone masonry laid in regular courses with fine joints. Balustrade: A parapet or guard consisting of balusters supporting a rail or coping. The stair rail on the open side of a household stair is a common example of a balustrade. Barge board: The board along the edge of a gable roof, often decorated or pierced in Victorian houses. Battlement: A notched parapet, like on a castle. Also called castellation. The notches are called embassures or crenelles, and the raised parts are called merlons. Bay: Divisions of a building marked by windows, pilasters, etc. An Ontario cottage with a centre door and windows on either side would be called a 3-bay house with an ABA rhythm. Bay window: A group of windows projecting beyond a main wall. Commonly with angled sides in the Victorian style, and rectangular in Edwardian. Bipartite: In two parts. Blind: An imitation opening on a solid wall is called blind. Thus a blind arch, a blind window, a blind arcade. Board-and-batten: Wood siding consisting of wide vertical boards, the joints of which are covered by narrow vertical strips, or battens. Bond: A pattern of bricklaying in a wall.
  • Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum

    Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum

    archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in cross­section, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a half­barrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet.
  • WRAP THESIS Shilliam 1986.Pdf

    WRAP THESIS Shilliam 1986.Pdf

    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England.
  • The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment

    The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826.
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016

    AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016

    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
  • Tournai Cathedral

    Tournai Cathedral

    canons and other church functionaries said prayers for the diocese. Services in the Middle Ages would have Tournai Cathedral (Belgium) been rich with sound, movement, colour and fragrance, bringing the Cathedral to life: liturgical No 1009 vestments and ornaments, processions, musical instruments, boys' choirs at the services of Prime and Vespers and the periodic ringing of bells would have made this a "multimedia" performance much appreciated at the time. Today services are led by the bishop on special occasions and by the canons on a daily basis. Over the centuries of uninterrupted Identification worship, the church has accumulated a number of precious objects which are still kept in the Cathedral Nomination Notre-Dame Cathedral in Tournai and used during services. Location City of Tournai, Province of Hainaut, The Cathedral also fulfils a social function: even today Wallonian Region it is a place of solidarity. In the Middle Ages, religion was closely associated with concern for the less State Party Belgium privileged, expressed in caring for the sick, giving alms, or taking responsibility for the weakest in Date 6 July 1999 society. The city of Tournai still possesses buildings that bear witness to this social function of the church, such as the former hospital of Note-Dame, now the Academy of Fine Arts. Justification by State Party The church's intellectual role is also inextricably In the case of the nave and transept, the early date of linked with the life of the Cathedral and was the elevation to four levels and its subsequent manifested initially in the education of the populace widespread extension meets the criterion of through the preaching of the clergy.
  • Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation

    Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation

    Originalveröffentlichung in: Enenkel, Karl A. E. ; Ottenheym, Konrad A. (Hrsgg.): The quest for an appropriate past in literature, art and architecture, Leiden 2019, S. 511-585 (Intersections ; 60) chapter 19 Translating the Past: Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation Stephan Hoppe The early history of northern Renaissance architecture has long been pre- sented as being the inexorable occurrence of an almost viral dissemination of Italian Renaissance forms and motifs.1 For the last two decades, however, the interconnected and parallel histories of enfolding Renaissance humanism have produced new analytical models of reciprocal exchange and of an ac- tively creative reception of knowledge, ideas, and texts yet to be adopted more widely by art historical research.2 In what follows, the focus will be on a particular part of the history of early German Renaissance architecture, i.e. on the new engagement with the historical – and by then long out-of-date – world of Romanesque architectural style and its possible connections to emerging Renaissance historiography 1 Cf. Hitchcock H.-R., German Renaissance Architecture (Princeton, NJ: 1981). 2 Burke P., The Renaissance (Atlantic Highlands, NJ: 1987); Black R., “Humanism”, in Allmand C. (ed.), The New Cambridge Medieval History, c. 1415–c. 1500, vol. 7 (Cambridge: 1998) 243–277; Helmrath J., “Diffusion des Humanismus. Zur Einführung”, in Helmrath J. – Muhlack U. – Walther G. (eds.), Diffusion des Humanismus. Studien zur nationalen Geschichtsschreibung europäischer Humanisten (Göttingen: 2002) 9–34; Muhlack U., Renaissance und Humanismus (Berlin – Boston: 2017); Roeck B., Der Morgen der Welt. Die Geschichte der Renaissance (Munich: 2017). For more on the field of modern research in early German humanism, see note 98 below.
  • PARCOURS DE PECHE RECIPROCITAIRE De La Mève Et De La Verse, AAPPMA De Noyon

    PARCOURS DE PECHE RECIPROCITAIRE De La Mève Et De La Verse, AAPPMA De Noyon

    PARCOURS DE PECHE RECIPROCITAIRE de la Mève et de la Verse, AAPPMA de Noyon REGLEMENT 2021 Article 1 : Conditions générales de pêche : Le Parcours est géré par l’A.A.P.P.M.A. de Noyon. - Application et respect de la réglementation départementale en vigueur (suivant arrêté préfectoral) et du présent règlement. Ce parcours est accessible sans autres cotisations à tous les détenteurs d'une carte de pêche suivante : Carte de pêche de l'A.A.P.P.M.A. de Noyon, Carte Interfédérale (URNE - CHI ou EGHO) Carte découverte Femme d’une AAPPMA réciprocitaire Carte découverte jeune -12 ans d’une AAPPMA réciprocitaire Carte personne mineure -18 ans d’une AAPPMA réciprocitaire Carte hebdomadaire d’une AAPPMA réciprocitaire Carte de pêche journalière de l’AAPPMA de Noyon Tout pêcheur en action de pêche doit disposer de sa carte de pêche. Article 2 : Périodes d’ouverture : - Les périodes légales d’ouverture sont identiques à celles des eaux de 1ère catégorie piscicole, soit du deuxième samedi de Mars au troisième dimanche de Septembre (en 2021 : du 13 Mars au 19 Septembre) - Heures légales de pêche : 1/2 heure avant le lever du soleil et 1/2 heure après le coucher du soleil. - La pêche est autorisée tous les jours de la semaine. Article 3 : Types de pêche : - Une canne par pêcheur. - Le nombre de truites autorisé sur le parcours de la Mève et de la Verse à Genvry jusqu'à son passage souterrain au niveau de la police municipale est fixé à 5. - La taille minima des captures est fixée à 25 cm.