Laon Cathedral • Early Gothic Example with a Plan That Resembles Romanesque

Total Page:16

File Type:pdf, Size:1020Kb

Laon Cathedral • Early Gothic Example with a Plan That Resembles Romanesque Gothic Art • The Gothic period dates from the 12th and 13th century. • The term Gothic was a negative term first used by historians because it was believed that the barbaric Goths were responsible for the style of this period. Gothic Architecture The Gothic period began with the construction of the choir at St. Denis by the Abbot Suger. • Pointed arch allowed for added height. • Ribbed vaulting added skeletal structure and allowed for the use of larger stained glass windows. • The exterior walls are no longer so thick and massive. Terms: • Pointed Arches • Ribbed Vaulting • Flying Buttresses • Rose Windows Video - Birth of the Gothic: Abbot Suger and St. Denis Laon Cathedral • Early Gothic example with a plan that resembles Romanesque. • The interior goes from three to four levels. • The stone portals seem to jut forward from the façade. • Added stone pierced by arcades and arched and rose windows. • Filigree-like bell towers. Interior of Laon Cathedral, view facing east (begun c. 1190 CE). Exterior of Laon Cathedral, west facade (begun c. 1190 CE). Chartres Cathedral • Generally considered to be the first High Gothic church. • The three-part wall structure allowed for large clerestory and stained-glass windows. • New developments in the flying buttresses. • In the High Gothic period, there is a change from square to the new rectangular bay system. Khan Academy Video: Chartres West Facade of Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Royal Portals of Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Nave, Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Aerial view from the northwest of Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Notre Dame • One of the most famous buildings in the history of architecture is Cathedral of Notre Dame de Paris. • Was a mixture of old and new elements. • Combination of old and late styles. • Extensive modifications in 1225-1250 resembling High Gothic style. • Elimination of the triforium and the addition of lacy flying buttresses. • Fenestration gives it a light and airy look; note the rose window. Khan Academy Video: The Cathedral of Notre-Dame, Paris (before the fire) Addition of lacy flying buttresses Flying Buttresess of Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Cathedral of Notre-Dame de Paris (Gothic, begun 1163 CE, completed 1250 CE). Notre Dame Cathedral, Gothic, Paris, France Windows of Chartres Cathedral, Chartres, France (begun 1134 CE, rebuilt after 1194 CE). Florence Cathedral • Italy did not adhere to the strict French Gothic style. • Florence’s cathedral has green and white marble geometric patterns on the exterior. • It is more horizontal than the vertical French Gothic style. • Note that this cathedral is also different in plan. Florence Cathedral (Gothic, begun 1368 CE). Gothic Sculpture • There was a change in mood from Romanesque sculpture to Gothic. The theme is of redemption rather than damnation. • Scenes were now of the life of Jesus or the apocalypse. • The Virgin Mary, also, started to become an important subject. Terms: • Pointed Arch • Ribbed Vaulting • Flying Buttress • Rose Windows • Jamb Sculptures Compare Jamb Sculptures • The differences in the jamb sculptures around portals at Chartres Cathedral and Reims Cathedral • The figures, folds of drapery, and the facial features • Notice the more naturalistic approach • Discuss the Annunciation and the Visitation stories represented Jamb figures, west portals, Chartres Cathedral (Gothic, c. 1140–1150 CE). The Annunciation and Visitation Jamb figures, west portals, Reims Cathedral (Gothic, begun 1210 CE). Gothic Themes and Concepts: • barrel vault, pointed arch • jamb figures • height and light • sacred space • stained glass • return to classicism Discussion Questions: • What are the differences between Romanesque and Gothic art forms? .
Recommended publications
  • Carolingian, Romanesque, Gothic
    3 periods: - Early Medieval (5th cent. - 1000) - Romanesque (11th-12th cent.) - Gothic (mid-12th-15th cent.) - Charlemagne’s model: Constantine's Christian empire (Renovatio Imperii) - Commission: Odo of Metz to construct a palace and chapel in Aachen, Germany - octagonal with a dome -arches and barrel vaults - influences? Odo of Metz, Palace Chapel of Charlemagne, circa 792-805, Aachen http://www.youtube.com/ watch?v=pwIKmKxu614 -Invention of the uniform Carolingian minuscule: revived the form of book production -- Return of the human figure to a central position: portraits of the evangelists as men rather than symbols –Classicism: represented as roman authors Gospel of Matthew, early 9th cent. 36.3 x 25 cm, Kunsthistorische Museum, Vienna Connoisseurship Saint Matthew, Ebbo Gospels, circa 816-835 illuminated manuscript 26 x 22.2 cm Epernay, France, Bibliotheque Municipale expressionism Romanesque art Architecture: elements of Romanesque arch.: the round arch; barrel vault; groin vault Pilgrimage and relics: new architecture for a different function of the church (Toulouse) Cloister Sculpture: revival of stone sculpture sculpted portals Santa Sabina, Compare and contrast: Early Saint-Sernin, Toulouse, Rome, 422-432 Christian vs. Romanesque France, ca. 1070-1120 Stone barrel-vault vs. timber-roofed ceiling massive piers vs. classical columns scarce light vs. abundance of windows volume vs. space size Saint-Sernin, Toulouse, Roman and Romanesque Architecture France, ca. 1070-1120 The word “Romanesque” (Roman-like) was applied in the 19th century to describe western European architecture between the 10th and the mid- 12th centuries Saint-Sernin, Toulouse, France, ca. 1070-1120 4 Features of Roman- like Architecture: 1. round arches 2.
    [Show full text]
  • Paris, Brittany & Normandy
    9 or 12 days PARIS, BRITTANY & NORMANDY FACULTY-LED INTERNATIONAL PROGRAMS ABOUT THIS TOUR Rich in art, culture, fashion and history, France is an ideal setting for your students to finesse their language skills or admire the masterpieces in the Louvre. Delight in the culture of Paris, explore the rocky island commune of Mont Saint-Michel and reflect upon the events that took place during World War II on the beaches of Normandy. Through it all, you’ll return home prepared for whatever path lies ahead of you. Beyond photos and stories, new perspectives and glowing confidence, you’ll have something to carry with you for the rest of your life. It could be an inscription you read on the walls of a famous monument, or perhaps a joke you shared with another student from around the world. The fact is, there’s just something transformative about an EF College Study Tour, and it’s different for every traveler. Once you’ve traveled with us, you’ll know exactly what it is for you. DAY 2: Notre Dame DAY 3: Champs-Élysées DAY 4: Versailles DAY 5: Chartres Cathedral DAY 3: Taking in the views from the Eiff el Tower PARIS, BRITTANY & NORMANDY 9 or 12 days Rouen Normandy (2) INCLUDED ON TOUR: OPTIONAL EXCURSION: Mont Saint-Michel Caen Paris (4) St. Malo (1) Round-trip airfare Versailles Chartres Land transportation Optional excursions let you incorporate additional Hotel accommodations sites and attractions into your itinerary and make the Light breakfast daily and select meals most of your time abroad. Full-time Tour Director Sightseeing tours and visits to special attractions Free time to study and explore EXTENSION: French Riviera (3 days) FOR MORE INFORMATION: Extend your tour and enjoy extra time exploring your efcollegestudytours.com/FRAA destination or seeing a new place at a great value.
    [Show full text]
  • 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
    [Show full text]
  • The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
    ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This
    [Show full text]
  • Pages 114- 129 Great Architecture of the World Readings
    Readings Pages 114- 129 Great Architecture of the World ARCH 1121 HISTORY OF ARCHITECTURAL TECHNOLOGY Photo: Alexander Aptekar © 2009 Gothic Architecture 1140-1500 Influenced by Romanesque Architecture While Romanesque remained solid and massive – Gothic: 1) opened up to walls with enormous windows and 2) replaced semicircular arch with the pointed arch. Style emerged in France Support: Piers and Flying Buttresses Décor: Sculpture and stained glass Effect: Soaring, vertical and skeleton-like Inspiration: Heavenly light Goal: To lift our everyday life up to the heavens Gothic Architecture 1140-1500 Dominant Art during this time was Architecture Growth of towns – more prosperous They wanted their own churches – Symbol of civic Pride More confident and optimistic Appreciation of Nature Church/Cathedral was the outlet for creativity Few people could read and write Clergy directed the operations of new churches- built by laymen Gothic Architecture 1140-1420 Began soon after the first Crusaders returned from Constantinople Brought new technology: Winches to hoist heavy stones New Translation of Euclid’s Elements – Geometry Gothic Architecture was the integration of Structure and Ornament – Interior Unity Elaborate Entrances covered with Sculpture and pronounced vertical emphasis, thin walls pierced by stained-glass Gothic Architecture Characteristics: Emphasis on verticality Skeletal Stone Structure Great Showing of Glass: Containers of light Sharply pointed Spires Clustered Columns Flying Buttresses Pointed Arches Ogive Shape Ribbed Vaults Inventive Sculpture Detail Sharply Pointed Spires Gothic Architecture 1140-1500 Abbot Suger had the vision that started Gothic Architecture Enlargement due to crowded churches, and larger windows Imagined the interior without partitions, flowing free Used of the Pointed Arch and Rib Vault St.
    [Show full text]
  • FRANCE June 2019 As of 21Dec2018
    FRANCE Reims, Le Puy, Paris Notre-Dame de Reims June 18 - 27, 2019 Join Cretin-Derham Hall Alumni on this once-in-a-lifetime Lasallian / Sisters of St. Joseph Pilgrimage Tour to France. We will “Walk in the Footsteps of our Founders - The Christian Brothers and The Sisters of St. Joseph of Carondelet”. Our trip will include overnight stays in Reims, Le Puy, and Paris along with visits to Liesse and Rouen. This fully escorted, all-inclusive, private tour will include the important historic sites associated with the life of St. Jean-Baptiste de La Salle and The Sisters of St. Joseph. *Sample Itinerary / Overnight City / Activities Tuesday, June 18: Depart Minneapolis for Paris (flight below) Wednesday, June 19: Reims - Arrive Paris! Transfer to Reims + Lunch + Visit to the Motherhouse of the Sisters of the Child Jesus + Visit Lasallian School Thursday, June 20: Reims - Guided tours to include: Founder’s House/The Hotel de La Cloche Museum + Reims Cathedral + College des Bons Enfants + St. Maurice + Basilica of St. Remi + Lunch + Time to Explore on your own Friday, June 21: Reims - Day Trip to Liesse / Option to walk 3 miles in to Liesse + Lunch + Visit burial site of Blessed Brother Arnold Reche returning to Reims Saturday, June 22: Le Puy - Depart Reims + Stop en route Dijon + Lunch at La Dame d’Aquitaine + Continue transfer to Le Puy + Hotel Check-in Sunday, June 23 Le Puy - Sisters of the Child Jesus Tour Monday, June 24: Paris - Depart Le Puy + stop en route Tuesday, June 25: Paris - Walking tour of Lasallian Paris - Visit St.
    [Show full text]
  • Circle Patterns in Gothic Architecture
    Bridges 2012: Mathematics, Music, Art, Architecture, Culture Circle patterns in Gothic architecture Tiffany C. Inglis and Craig S. Kaplan David R. Cheriton School of Computer Science University of Waterloo [email protected] Abstract Inspired by Gothic-influenced architectural styles, we analyze some of the circle patterns found in rose windows and semi-circular arches. We introduce a recursive circular ring structure that can be represented using a set-like notation, and determine which structures satisfy a set of tangency requirements. To fill in the gaps between tangent circles, we add Appollonian circles to each triplet of pairwise tangent circles. These ring structures provide the underlying structure for many designs, including rose windows, Celtic knots and spirals, and Islamic star patterns. 1 Introduction Gothic architecture, a style of architecture seen in many great cathedrals and castles, developed in France in the late medieval period [1, 3]. This majestic style is often applied to ecclesiastical buildings to emphasize their grandeur and solemnity. Two key features of Gothic architecture are height and light. Gothic buildings are usually taller than they are wide, and the verticality is further emphasized through towers, pointed arches, and columns. In cathedrals, the walls are often lined with large stained glass windows to introduce light and colour into the buildings. In the mid-18th century, an architectural movement known as Gothic Revival began in England and quickly spread throughout Europe. The Neo-Manueline, or Portuguese Final Gothic, developed under the influence of traditional Gothic architecture and the Spanish Plateresque style [10]. The Palace Hotel of Bussaco, designed by Italian architect Luigi Manini and built between 1888 and 1907, is a well-known example of Neo-Manueline architecture (Figure 2).
    [Show full text]
  • 2019 Pilgrimage Through the French Monasticism Movement
    2019 Pilgrimage through the French Monasticism Movement We invite you to pilgrimage through France to observe the French Monasticism movement, the lessons it holds for the church today and for your own personal spiritual growth. We will visit Mont St-Michel, stay in the monastery at Ligugé, spend a weekend immersed in the Taizé Community, and make stops in other historic and contemporary monastic settings. Our days and reflections will be shaped by both ancient and contemporary monastic practices. Itinerary Days 1 and 2 – Arrive Paris and visit Chartres We will begin our pilgrimage by traveling from the Paris airport to Chartres Cathedral where we will begin and dedicate our pilgrimage by walking the massive labyrinth laid in the floor of the nave just as pilgrims have done before us for nearly 800 years. We will spend the night in Chartres at The Hôtellerie Saint Yves, built on the site of an ancient monastery and less than 50 m from the cathedral. Day 3 and 4 – Mont-Saint-Michel and Ligugé In the morning, we will travel to the mystical islet of Mont-Saint-Michel, a granite outcrop rising sharply (to 256 feet) out of Mont-Saint-Michel Bay (between Brittany and Normandy). We will spend the day here and return on Sunday morning to worship as people have since the first Oratory was built in the 8th Century. After lunch on the mount we will head to Ligugé Monastery for the night. Day 5 – Vézelay Following the celebration of Lauds and breakfast at Ligugé, we will depart for the hilltop town of Vézelay.
    [Show full text]
  • Flying Buttresses • Openings and Spans • Bar Tracery and Linear Elements • Large Scale Construction and Transmission of Knowledge
    HA2 Autumn 2005 Gothic Architecture: design and history Outline • Main design issues and innovations • Structural outline • Chronological development • Classical styles (France) • Outside the canon • Gothic in the UK • Case study: Burgos Cathedral Gothic Architecture: design and history 2 Gothic Architecture: design and history Dimitris Theodossopoulos 1 HA2 Autumn 2005 Main design issues • Definition – a sharp change from Romanesque? (St Denis 1130) • Major elements pre-existing (ribs and shafts, pointed arches, cross vaults) • Composition and scale • Light and height • Role of patrons (royal vs. secular foundations) and cathedral buildings • Strong technological input • European regional characteristics • Decline: decorative character and historical reasons Gothic Architecture: design and history 3 Main design issues Gothic Architecture: design and history 4 Gothic Architecture: design and history Dimitris Theodossopoulos 2 HA2 Autumn 2005 Technological innovations • Dynamic composition • Dynamic equilibrium • Linearity – origin in Norman timber technology? • Role of the ribs (and shafts) • Spatial flexibility of cross vaults – use of pointed arch • Flying buttresses • Openings and spans • Bar tracery and linear elements • Large scale construction and transmission of knowledge Gothic Architecture: design and history 5 The role of geometry Gothic Architecture: design and history 6 Gothic Architecture: design and history Dimitris Theodossopoulos 3 HA2 Autumn 2005 Light Contrast Durham Cathedral (1093-1133) and Sainte Chapelle in Paris
    [Show full text]
  • The Unifying Role of the Choir Screen in Gothic Churches Author(S): Jacqueline E
    Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches Author(s): Jacqueline E. Jung Source: The Art Bulletin, Vol. 82, No. 4, (Dec., 2000), pp. 622-657 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051415 Accessed: 29/04/2008 18:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches JacquelineE. Jung Thomas Hardy's early novel A Laodicean (first published in in church rituals, "anti-pastoral devices"4 designed to prevent 1881) focuses on the relationship between Paula Power, a ordinary people from gaining access to the sacred mysteries.
    [Show full text]
  • 2-A-07-10-Not13-Instructions- Build a Cathedral-HS.Docx
    ART 2-07 lnstructions to Build Your Cathedral 1. Print out all six pages on cardstock. 2. Cut out on all solid lines. Dotted lines are fold lines. 3. Page one: The Crossing. This should look familiar. We used it on the squinches and pendentive lesson. a. Cut down the center of the paper, to separate the pointed pieces (piece A) from the large piece (piece B) that has four folds. b. Take piece A and carefully cut all the dark areas away. Throw these dark pieces away. c. Glue section C under section D. C and D are parts of a point. When glued they make a whole point. d. Glue or tape the fold down areas of the dome. There are two ways to do this. i. First way: start on the C/D point and put a very tiny bit of glue on the back of the fold down section. Then bring point E over to the C/D point. C/D should be under the E point. Continue putting glue on the back of the glued down section and bringing the next point over. You may have overlap. That is okay. Just glue all the points to the center. ii. Second way: put tape on the inside of the C/D point and then bring all the points up and stick to the tape. e. The four triangles on the bottom of the dome are the squinches or pendentives. Fold them out. Carefully crease this fold. f. Set dome aside. Piece B is the nave. This is where the people sit.
    [Show full text]
  • 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.
    [Show full text]