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The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions -
The Digital Nature of Gothic
The Digital Nature of Gothic Lars Spuybroek Ruskin’s The Nature of Gothic is inarguably the best-known book on Gothic architecture ever published; argumentative, persuasive, passionate, it’s a text influential enough to have empowered a whole movement, which Ruskin distanced himself from on more than one occasion. Strangely enough, given that the chapter we are speaking of is the most important in the second volume of The Stones of Venice, it has nothing to do with the Venetian Gothic at all. Rather, it discusses a northern Gothic with which Ruskin himself had an ambiguous relationship all his life, sometimes calling it the noblest form of Gothic, sometimes the lowest, depending on which detail, transept or portal he was looking at. These are some of the reasons why this chapter has so often been published separately in book form, becoming a mini-bible for all true believers, among them William Morris, who wrote the introduction for the book when he published it First Page of John Ruskin’s “The with his own Kelmscott Press. It is a precious little book, made with so much love and Nature of Gothic: a chapter of The Stones of Venice” (Kelmscott care that one hardly dares read it. Press, 1892). Like its theoretical number-one enemy, classicism, the Gothic has protagonists who write like partisans in an especially ferocious army. They are not your usual historians – the Gothic hasn’t been able to attract a significant number of the best historians; it has no Gombrich, Wölfflin or Wittkower, nobody of such caliber – but a series of hybrid and atypical historians such as Pugin and Worringer who have tried again and again, like Ruskin, to create a Gothic for the present, in whatever form: revivalist, expressionist, or, as in my case, digitalist, if that is a word. -
Rayonnant Style, French Building Style (13Th Century) That Represents the Height of Gothic Architecture
Rayonnant style, French building style (13th century) that represents the height of Gothic architecture. During this period architects became less interested in achieving great size than in decoration, which took such forms as pinnacles, moldings, and especially window tracery. The style’s name reflects the radiating character of the rose window. Other features include the thinning of vertical supporting members, the enlargement of windows, and the combination of the triforium gallery and clerestory into one large glazed area, until walls became largely undifferentiated screens of tracery, mullions, and glass. Flamboyant style, phase of late Gothic architecture in 15th-century France and Spain. It evolved out of the Rayonnant style’s increasing emphasis on decoration. Its most conspicuous feature is the dominance in stone window tracery of a flamelike S- shaped curve. Wall surface was reduced to the minimum to allow an almost continuous window expanse. Structural logic was obscured by covering buildings with elaborate tracery. Flamboyant Gothic, which became increasingly ornate, gave way in France to Renaissance forms in the 16th century. Perpendicular style, Phase of late Gothic architecture in England roughly parallel in time to the French Flamboyant style. The style, concerned with creating rich visual effects through decoration, was characterized by a predominance of vertical lines in stone window tracery, enlargement of windows to great proportions, and conversion of the interior stories into a single unified vertical expanse. Fan vaults, springing from slender columns or pendants, became popular. In the 16th century, the grafting of Renaissance elements onto the Perpendicular style resulted in the Tudor style. Manueline, Portuguese Manuelino, particularly rich and lavish style of architectural ornamentation indigenous to Portugal in the early 16th century. -
Rose Window Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia
6/19/2016 Rose window Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multipetalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral. -
A Catholic Architect Abroad: the Architectural Excursions of A.M
A CATHOLIC ARCHITECT ABROAD: THE ARCHITECTURAL EXCURSIONS OF A.M. DUNN Michael Johnson Introduction A leading architect of the Catholic Revival, Archibald Matthias Dunn (1832- 1917) designed churches, colleges and schools throughout the Diocese of Hexham and Newcastle. Working independently or with various partners, notably Edward Joseph Hansom (1842-1900), Dunn was principally responsible for rebuilding the infrastructure of Catholic worship and education in North- East England in the decades following emancipation. Throughout his career, Dunn’s work was informed by first-hand study of architecture in Britain and abroad. From his first year in practice, Dunn was an indefatigable traveller, venturing across Europe, North Africa and the Middle East, filling mind and sketchbook with inspiration for his own designs. In doing so, he followed in the footsteps of Catholic travellers who had taken the Grand Tour, a tradition which has been admirably examined in Anne French’s Art Treasures in the North: Northern Families on the Grand Tour (2009).1 While this cultural pilgrimage was primarily associated with the landed gentry of the eighteen century, Dunn’s travels demonstrate that the forces of industrialisation and colonial expansion opened the world to the professional middle classes in the nineteenth century.2 This article examines Dunn’s architectural excursions, aiming to place them within the wider context of travel and transculturation in Victorian visual culture. Reconstructing his journeys from surviving documentary sources, it seeks to illuminate the processes by which foreign forms came to influence architectural taste during the ‘High Victorian’ phase of the Gothic Revival. Analysing Dunn’s major publication, Notes and Sketches of an Architect (1886), it uses contemporaneous reviews in the building press to determine how this illustrated record of three decades of international travel was received by the architectural establishment. -
Gothic Architecture
1 Gothic Architecture. The pointed Gothic arch is the secret of the dizzy heights the cathedral builders were able to achieve, from around the 13th Century. Columns became more slender, and vaults higher. Great open spaces and huge windows became the or- der of the day, as the pointed arch began to replace the rounded Roman-style arches of the Romanesque period. We will compare the two styles. On the left are the later arches of Salisbury Cathedral, c. 1230, in the Gothic style with elegant and slender piers. On the right are the Romanesque arches of Gloucester Cathedral with their huge cylindrical supports of faced stone filled with rubble, from around 1130. This is a drawing of praying hands by In this diagram Albrecht Dürer, you can see the 1508, in the effect of these Albertina Gallery in forces on a Gothic Vienna. If you hold pointed arch, your hands like this where some of the and imagine some- thrust is upwards, one pressing down alleviating part of on your knuckles, the weight of the you’ll feel your vault. finger ends move upwards. 2 There are different types of Gothic windows. Early English lancet windows, built 13th Century, plate tracery St. Dunstan’s Church, 1234, east end of Southwell Minster, in the south aisle west Canterbury. Early English Nottinghamshire, England window, All Saints Church, Decorated Style, 13th Hopton, Suffolk, England Century. The first structural windows with pointed arches were built in England and France, and be- gan with plain tall and thin shapes called lancets. By the 13th Century they were decorating the tops of the arches and piercing the stonework above with shapes such as this 4 leaf clover quatrefoil. -
AP Art History Chapter 13: Gothic Art Mrs. Cook
AP Art History Chapter 13: Gothic Art Mrs. Cook Define these terms: Key Cultural & Religious Terms: Scholasticism, disputatio, indulgences, lux nova, Annunciation, Visitation, opere francigeno, opus modernum Key Art Terms: stained glass, glazier, flashing, cames, leading, plate tracery, bar tracery, fleur‐de‐lis, Rayonnant, Flamboyant, mullions, moralized Bible, breviary, Perpendicular style, ambo, altarpiece, triptych, pieta Key Architectural Terms: altar frontal, rib vault, armature, webs, pointed arch, jamb figures, trumeau, triforium, oculus, flying buttress, pinnacle, vaulting web, diagonal rib, transverse rib, springing, clerestory, lancet, nave arcade, compound pier (cluster pier), shafts (responds), ramparts, battlements, crenellations, merlons, crenels, fan vaults, pendants, Gothic Revival, Hallenkirche (hall church) Exercises for Study: 1. Describe the key architectural features introduced in the French cathedral design in the Gothic era. 2. Describe features that make English Gothic cathedrals distinct from their French or German counterparts. 3. Describe the late Gothic Rayonnant and Flamboyant styles, and give examples of each. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Old Testament kings and queen, jamb statues, Chartres Cathedral (Fig. 13‐7); Virgin and Child (Virgin of Paris), Notre‐Dame, Paris (Fig. 13‐26) • Dates: • Composition/posture of figures: • Relation to architecture: B. Saint Theodore, jamb statue, left portal, Porch of the Martyrs, Chartres Cathedral (Fig. 13‐18); Naumburg Master, Ekkehard and Uta, Naumburg Cathedral (Fig. 13‐48): • Dates: • Subjects: • Composition/posture of figures: • Relation to architecture: C. Interior of Saint Elizabeth, Marburg, Germany (Fig. 13‐53); Interior of Laon Cathedral, Laon, France (Fig. 13‐9) • Dates & locations: • Nave elevation: • Aisles: • Ceiling vaults: • Other architectural features: Chapter Questions: 1. -
Computer-Generated Gothic Tracery with a Motif-Oriented Approach
Computer-generated Gothic Tracery with a Motif-oriented Approach Joe Takayama* *Kyushu Sangyo University, [email protected] Abstract: Drawing decorative ornaments as computer-generated imagery (CGI) is both time- and energy-intensive because it usually involves complicated motifs. Therefore, a procedural approach that is applicable to a variety of fields may be useful for drawing ornaments efficiently. Consequently, an algorithmic approach for generating complicated ornaments has been proposed in this study. This research specifically focuses on Gothic tracery, which is widely found in European architecture from the 12th to 15th centuries. Tracery constitutes stonework elements that support glass panes in windows. Although Gothic tracery comprises a wide variety of complicated patterns, it usually consists of combinations of circles with a few straight lines. These combinations and geometric operations can generate various motifs. However, it is difficult to extract the rules for obtaining desirable patterns from circle arrangements because of variations in geometric situations. Therefore, we attempted through this study to draw Gothic tracery using a motif-oriented approach whereby an algorithm automatically seeks an appropriate position in a closed 2D space for placement of the motif. Thus, the algorithm determines the arrangement of circles required to draw the motif. This algorithm can produce some principal Gothic-style motifs automatically, and recursive execution of the algorithm can generate complicated patterns. Keywords: Computer-generated imagery, Ornaments, Gothic tracery, Procedural approach 1. Introduction A procedural approach in CGI has been used mainly to represent natural objects and natural phenomena that are too complicated to be drawn or animated by artists [5]. -
The Art and Patronage of Saint Louis of France
The Art and Patronage of Saint Louis of France By Julia Collins (Master of Philosophy Faculty of Arts University of Glasgow) Christie’s Education, London. Master’s Programme September 2000 © Julia F. Collins ProQuest Number: 13818858 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818858 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 (GLASGOW ^ UNIVERoiTY .LIBRARY; as'7 CONTENTS Page Abstract 2 Acknowledgements 3 Chapter 1: Introduction 4 Chapter 2: The Sainte-Chapelle - a Capetian Manifesto 7 Chapter 3: Sculpture- the most influential medium of the century 18 Chapter 4: Ivories- Carriers of the style 22 Chapter 5: Manuscripts 24 Chapter 7: Conclusion 25 Catalogue 28 Catalogue Illustrations 51 List of comparative Illustrations 70 Comparative Illustrations 76 Glossary 122 Bibliography 125 Exhibition Catalogues 131 1 ABSTRACT This Exhibition focuses on the iconography Louis IX of France (Saint Louis) established in the Sainte-Chapelle in Paris and how this was reflected in other works he may have commissioned. This is placed in the context of the artistic and stylistic developments of the period. -
Avisn FORUM Journal of the Association Ellard De Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art
AVISn FORUM Journal of The Association Ellard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art Volume 10 Number 1 Fall 1996 1Winter 1997 MAR 2 1997 C~~~~~#'Lo 1 LI - Page Directors ............................................................................... 2 Bulletin Board ...................................................................... 2 Farewell to a Friend: Jean Gimpel ......................................... 3 I From the President ................................................................. 4 I AVISTA Sessions: 1996 Medieval Congress .......................... 5 Abstracts of Papers Articles The Work of Count Galeran ................................................... 9 by Stephen ~ardn&nd John James Knights and Ladies at the Door ............................................ 10 by Janet Snyder The Plan of Saint-Urbain, Troyes ........................................ I5 by Michael T. Davis The Architectural Envelope of the Sainte-Chapelle ............. 2 1 by Stephen Murray Reviews Beat Brenk and Daniel Weiss on the Sainte-Chapelle Walter Cahn on Richard of St.-Victor's Ezekiel Commentary ............................................................ 25 by Michael T. ~avis Marion Archibald et al., on Coin Dies from London ........... 30 by Alan M. Stahl News from Members and Affiliated Societies ..................... 3 1 Activities... Past, Present, Future ........................................... 33 AVISTA Membership application ......................................... 39 Editorial -
Chapter 5: Innovations in the Rhineland
110 Great Spires: Skyscrapers of the New Jerusalem PART III: PRIDE, PIETY, AND COMMUNITY: THE GOLDEN AGE OF SPIRE CONSTRUCTION IN THE HOLY ROMAN EMPIRE Chapter 5: Innovations in the Rhineland It was in the Rhineland in the decades around 1300 that the design of great spires finally began to catch up with the dramatic strides made over the previous century in other facets of Gothic architectural production, especially in France. In Strasbourg, Cologne, and Freiburg, in particular, up-to-date French Rayonnant ideas about the skeletalization of form were decisively brought to bear for the first time on the problem of spire design. One major consequence of this process was the invention of the openwork spire type, which would subsequently enjoy great popularity, especially in the German-speaking world. This first flourishing of Rhenish spire design paved the way for the emergence of the Holy Roman Empire as the superpower in spire construction in the late Gothic era. The innovative spire projects of the Rhineland thus occupy a pivotal place in the overall history of the Gothic great spire phenomenon, at the geographical boundary between the French and German spheres, and at the chronological boundary between the periods often identified as the High and Late Middle Ages.1 The flowering of Rhenish spire design coincided with the establishment of drawing as a crucial tool of architectural planning and formal invention. With the exception of Villard de Honnecourt's notebook, the vast majority of the earliest surviving Gothic architectural drawings were associated with the Rhenish spire and facade projects of Strasbourg, Cologne, and Freiburg. -
Characteristics of Gothic Churches and Cathedrals
Characteristics of Gothic churches and cathedrals In Gothic architecture, a unique combination of existing technologies established the emergence of a new building style. Those technologies were the ogival or pointed arch, the ribbed vault, and the flying buttress. The Gothic style, when applied to an ecclesiastical building, emphasizes verticality and light. This appearance was achieved by the development of certain architectural features, which together provided an engineering solution. The structural parts of the building ceased to be its solid walls, and became a stone skeleton comprising clustered columns, pointed ribbed vaults and flying buttresses. (See below: Light) A Gothic cathedral or abbey was, prior to the 20th century, generally the landmark building in its town, rising high above all the domestic structures and often surmounted by one or more towers and pinnacles and perhaps tall spires. These cathedrals were the skyscrapers of that day and would have, by far, been the largest buildings that Europeans would have ever seen. Plan Most Gothic churches, unless they are entitled chapels, are of the Latin cross (or "cruciform") plan, with a long nave making the body of the church, a transverse arm called the transept and, beyond it, an extension which may be called the choir, chancel or presbytery. There are several regional variations on this plan. The nave is generally flanked on either side by aisles, usually singly, but sometimes double. The nave is generally considerably taller than the aisles, having clerestory windows which light the central space. Gothic churches of the Germanic tradition, like St. Stephen of Vienna, often have nave and aisles of similar height and are called Hallenkirche.