Gothic Architecture is an architectural style that developed in Europe during the High and Late Middle Ages. It evolved from Roman architecture and was replaced by Renaissance architecture. Originating from the 12th century France and surviving until the 16th century, Gothic architecture was known during this period as the
In large churches and cathedrals and in a number of civilian buildings, Gothic style is expressed very strongly, its characteristics lend itself to attracting emotion, whether it stems from faith or from the pride of society. A large number of ecclesiastical buildings remain from this period, which is even the smallest often structure of architectural differences while many of the larger churches are considered priceless artworks and registered with UNESCO as World Heritage Sites. For this reason, the study of Gothic architecture is often the study of cathedrals and churches.
A series of Gothic revivals began in the mid-eighteenth century England, spreading in 19th century Europe and continuing, largely for ecclesiastical structures and universities, until the 20th century.
Video Gothic architecture
Terminology
In contrast to the style of art of the past and of the future, such as the Carolingian style as noted by the French art historian Louis Grodecki in his Gothic Architecture, the lack of Gothic from certain historical or geographic nexus produced a weak concept of what really Gothic. This is further exacerbated by the fact that the technical, ornamental, and formal Gothic features are not entirely unique to it. Although modern historians have always accepted the conventional use of "Gothic" as a label, even in the process of formal analysis because of long-standing traditions, the "Gothic" definition has historically varied wildly.
The term "Gothic architecture" originates as a degrading description. Giorgio Vasari used the term "German barbarian style" in his 1550th Artist Life to describe what is now considered a Gothic style, and in his introduction to Life which he attributes to various architectural features for "the Goths" for which he was responsible for destroying ancient buildings after they conquered Rome, and established a new one in this style. Vasari is not alone among the 15th and 16th Italian writers, because Filarete and Giannozzo Manetti also wrote a harsh critique of Gothic style, calling it a "barbaric presumption for the Renaissance." Vasari and the company are writing at a time when many aspects and vocabularies related to Classical architecture have been ascertained by the Renaissance in the late 15th and 16th centuries, and they have the perspective that the text of Italian "> maniera tedesca or maniera dei Goti is the antithesis of this backlashing style on the continuation of this negative connotation in the 17th century. FranÃÆ'§ois Rabelais, also of the 16th century, imagined an inscription above the door of the Utopian Monastery of ThÃÆ' Â © lÃÆ'¨me, "Here there is no hypocrite, fanatics...", slipping with reference to "Gotz" and "Ostrogotz." MoliÃÆ'¨re also made Gotik style notes in the 1669 poem title <"> French spelling"> La Gloire :
(in French) : "... faded gothic flavor ornaments, this annoying monster centuries-old, That from barbarism produces torrents... "
("... the bland taste of Gothic ornaments, this disgusting monstrosity of an unknown age, produced by torrents of barbarism...")
In English the use of the 17th century, "Goth" is equivalent to "destroyer," a savage despoiler with German heritage, and so came to apply to the style of northern European architecture from before the revival of a type of classical architecture. According to the 19th century correspondent in the London Journal Notes and Questions :
There is no doubt that the term 'Gothic' as applied to a pointy ecclesiastical architectural style was used initially with humiliation, and in derision, by those ambitious to emulate and revive the order of Greek architecture, after the revival of classical literature.. Authorities such as Christopher Wren lend their help in denouncing the old medieval style, which they call Gothic, as synonymous with everything that is barbaric and abusive.
The first movement to reevaluate medieval art occurred in the eighteenth century, even when the AcadÃÆ' m nà © nà © ré Royale d'Architecture met in Paris on 21 July 1710 and, among other subjects, discusses the new modes of bent arches and cusps on the chimneypieces employed to "complete the top of their openings." The academy disagrees with some of these new behaviors, which are flawed and which are mostly for the Gothic. " Despite resistance in the 19th and 20th centuries, like the writings of Wilhelm Worringer, critics such as PÃÆ'¨re Laugier, William Gilpin, August Wilhelm Schlegel and other critics began to give the term more positive meaning. Johann Wolfgang von Goethe calls the Gothic "deutsche Architektur " and "the embodiment of German genius," while some French writers such as Camille Enlart even nationalized it for France, dubbed it " architecture franÃÆ'§aise ". This second group made some of their claims using the Burchard von Halle chronicle that recounts the construction of Bad Wimpfen Church opere francigeno ("in style" French/Frank "). Currently, the term is defined by spatial observation and historical and ideological information.
Maps Gothic architecture
Definition and scope
Since the study of the 18th century, many have tried to define Gothic styles using a list of characteristic features, especially with pointed arches, domes supported by intersecting arches and flying support. Finally, historians compiled a rather large list of features unfamiliar to early medieval and classical art that included docks with colonies, peaks, roofs, rose windows, and openings broken into many different lancet-shaped parts. Several combinations thereof have been selected to identify sub-regional or national Gothic styles or follow style evolutions. From this came labels such as Flamboyan, Rayonnant, and English Perpendicular due to the observation of components such as decorative windows and dock molds. This idea, dubbed by Paul Frankl as "componential," also appeared in mid-nineteenth-century writers such as Arcisse de Caumont, Robert Willis and Franz Mertens.
As an architectural style, Gothic is developed mainly in ecclesiastical architecture, and its principles and forms of characteristics are applied to other types of buildings. The buildings of each type are built in Gothic style, with evidence remaining from simple domestic buildings, elegant city houses, magnificent palaces, commercial premises, civil buildings, palaces, city walls, bridges, village churches, monastic churches, the cathedral is great..
The largest number of Gothic buildings that still exist is the church. These range from small chapels to large cathedrals, and although many have been extended and altered in different styles, large numbers remain either substantially intact or sympathetically restored, showing the shape, character and decor of Gothic architecture. Gothic style is primarily associated with the great cathedrals of Northern France, the Low Countries, England and Spain, with other fine examples taking place across Europe.
Influences
Politics
Gothic roots lie in cities that, since the 11th century, have enjoyed an increase in prosperity and growth, are beginning to experience more and more freedom from traditional feudal authorities. At the end of the 12th century, Europe was divided into many states and royal cities. Areas that include modern Germany, southern Denmark, the Netherlands, Belgium, Luxembourg, Switzerland, Liechtenstein, Austria, Slovakia, the Czech Republic and most of northern Italy (except State of Venezia and Pontifical) are nominally part of the Holy Roman Empire, but local rulers implementing sufficient autonomy under the feudal system. France, Denmark, Poland, Hungary, Portugal, Scotland, Castile, Aragon, Navarre, Sicily and Cyprus are independent empires, just as the Angevin Empire, whose Plantagenet kings overwhelmed Britain and the great territory of what became modern France. Norway is under British influence, while other Scandinavian countries and Poland are affected by trade contacts with the Hanseatic League. The Angewin kings brought Gothic traditions from France to Southern Italy, while the Lusignan kings introduced the French Gothic architecture to Cyprus. Gothic art is sometimes viewed as the art of the feudalism era but is also connected with changes in medieval social structure, as the Gothic style of architecture seems parallel to the early decline of feudalism. Nevertheless, the influence of the established feudal elite can be seen in the palaces of French nobles and in churches sponsored by feudal lords.
Across Europe there is now a rapid growth in trade and associated growth in the cities, and they will become dominant in Europe by the end of the 13th century. Germany and the Low Countries have large developing cities that grow in comparative peace, in trade and competition with each other or unite to help each other, as in the Hanseatic League. Civilian buildings are very important for these cities as a sign of wealth and pride. Britain and France remained largely feudal and produced a magnificent household architecture for their kings, dukes and bishops, rather than town halls for their burgers. Viollet-le-Duc argues that the blooming Gothic style emerged as a result of increasing freedom in the construction profession.
Religion
Gothic geographic expansion is analogous to the Catholic Church, which prevails throughout Europe at this time and is not only influenced by beliefs but also wealth and power. The bishops were appointed by the feudal rulers (Kings, Dukes, and other landowners) and they often ruled as virtual princes over large estates. The early medieval period had experienced rapid growth in monasticism, with several different orders becoming prevalent and spreading their influence widely. Most notable are the Benedictines whose enormous churches outnumbered others in France and England. Part of their influence is the developing cities around them and they become the center of culture, learning, and commerce. The Order of Cluny and Cistercian prevalent in France, the great monasteries in Cluny have formed formulas for well-planned monastic sites that then affected all subsequent monastic buildings over the centuries. In the thirteenth century, Saint Francis of Assisi founded the Franciscans, the command of beggars. The Dominicans, another beggar's order established during the same period but by St. Dominic in Toulouse and Bologna, was very influential in the construction of Italian Gothic churches.
The main use of the Gothic style is in the religious structure, naturally leading it to an association with the Church and regarded as one of the most formal and coordinated forms of the physical church, which is considered the physical abode of God on Earth. According to Hans Sedlmayr, it is "even considered a temporary image of Paradise, from the New Jerusalem." The horizontal and vertical scope of the Gothic church, which is filled with light thinking as a symbol of God's grace received into the structure through the style icon window is one of the best examples of Christian architecture. Grodecki Gothic Architecture also notes that the glass fragments of the various colors that make up the windows have been compared to "precious stones that have hardened the walls of New Jerusalem," and that "many towers and peaks the mountain evokes a kind of structure that appears in Saint John's vision. "Another idea, held by Georg Dehio and Erwin Panofsky, is that Gothic design follows the current theological scholastic thinking. PBS suggests NOVA explores the influence of Scripture in the dimensions and design of some cathedrals.
Geographic
From the 10th to the 13th centuries, Roman architecture has become the style and style of pan-European construction, affecting buildings in far-flung countries such as Ireland and Croatia, as well as Sweden and Sicily. The same geographical area was then influenced by the development of Gothic architecture, but the acceptance of Gothic style and construction methods differs from one place to another, as does the expression of Gothic flavors. The proximity of some regions means that the borders of the modern state do not define the distribution of forces. On the other hand, some regions like England and Spain produce decisive traits rarely seen elsewhere, except where they have been taken by craftsmen, or transfer of bishops. Many different factors such as geography, geology, economics, social, or political situations that cause regional differences in Romanesque churches and cathedrals of the Romanesque period are often more pronounced in Gothic. For example, statistical population studies reveal gaps such as the number of churches, monasteries and cathedrals in northern France while in more urban areas construction activities of the same scale are provided for several important cities. Such an example comes from Roberto LÃÆ'³pez, where the French city of Amiens is able to fund its architectural projects while Cologne can not because of the economic inequality of both. This wealth, concentrated in the rich monasteries and noble families, will eventually spread to certain Italian, Catalan, and Hanseatic bankers. This will be changed when the economic difficulties of the 13th century are no longer felt, allowing Normandy, Tuscany, Flanders, and Southern Rhineland to enter into competition with France.
The availability of local materials influences construction and style. In France, limestone is available in several classes, the most delicate white limestone of Caen favored for sculpture. The UK has rough limestone and red sandstone as well as dark green Purbeck marble which is often used for architectural features. In northern Germany, the Netherlands, northern Poland, Denmark and the Baltic states, local building blocks are not available but there is a strong tradition for building bricks. The resulting style, Brick Gothic - is called Polish text in Poland and Backsteingotics in German and Scandinavian - also associated with the Hanseatic League. In Italy, stones are used for castles, so bricks are preferred to other buildings. Due to the vast and varied marble deposits, many buildings are faced with marble, or left with unframed façade so that this can be achieved in the future. The availability of wood also influences the architectural style, with the wooden buildings prevailing in Scandinavia. Availability of wood-impacted roof construction methods throughout Europe. It is thought that the magnificent English hammerbeam roof was designed in direct response to the lack of long spiced wood straight at the end of the Middle Ages, when forests have been destroyed not only for extensive roof construction but also for shipbuilding..
Possible Eastern influences
The pointy arch, one of the defining attributes of Gothic, was previously incorporated into the Islamic architecture after the conquest of the Roman and Syrian Sassanids of Syria in the 7th century. The pointed arch and its predecessors have been used in Roman architecture and the End Sassania; in the Roman context, evidenced in early church buildings in Syria and sometimes secular structures, such as the Roman Caramelite Bridge; in the Sassanid architecture, in the parabolic and pointed arches used in the palace and sacred construction. The use of pointed arches seems to have been lost dramatically after its incorporation into Islamic architecture. It began to appear throughout the Islamic world in sequence after adoption at the end of the Umayyad or early Abbasid period. Some examples are the Al-Ukhaidir Palace (775 AD), the reconstruction of the Abbasid Al-Aqsa Mosque in 780 AD, Friendly Cistern (789 AD), Grand Mosque of Samarra (851 AD), and Ibn Tulun Mosque. (879 AD) in Cairo. It also appeared in one of the early reconstructions of the Great Mosque of Kairouan in Tunisia, and the CÃÆ'³rdoba Cathedral-Mosque in 987 AD. David Talbot Rice points out that, "The pointed arch has been used in Syria, but in Ibn Tulun mosque we have one of the earliest examples of its use on a wide scale, centuries before it was exploited in the West by Gothic architects."
Increasing military and cultural contact with the Muslim world, including the conquest of Norman Sicilian Islam in 1090, the Crusades (early 1096), and the presence of Islam in Spain, may have influenced the medieval European adoption of the pointy arch, although this hypothesis is controversial. Of course, in parts of the Western Mediterranean that are subject to Islamic control or influence, a rich regional variant emerges, combining Roman and later Gothic traditions with Islamic decorative forms, for example in Monreale and CefalÃÆ'¹ Cathedrals, AlcÃÆ'¡zar of Seville, and Teruel Cathedral..
A number of scholars have quoted Armenian Cathedral Ani, completing 1001 or 1010, as a possible influence on Gothic, mainly because of the use of pointed arches and cluster pillars. However, other scholars such as Sirarpie Der Nersessian, who rejected this idea when he argued that the pointed arch does not serve the same function of supporting the dome. Lucy Der Manuelian argues that some Armenians (historically documented in Western Europe in the Middle Ages) can bring the knowledge and techniques used in Ani to the west.
The view held by most scholars is that the pointy arches develop naturally in Western Europe as structural solutions to technical problems, with evidence for this being used as a feature of style in the French and English churches of Romanesque.
History
Gothic styles originated in the Ile-de-France region of France during the Roman era in the first half of the 12th century, at the Cathedral of Sens (1130-62) and the Abbey of St-Denis (ca. 1130-40 and 1140-44) and not immediately replace it. An example of this lack of clean breaks is the blooming of Late Romantics (German: span span = "de"> SpÃÆ'¤tromanisch ) in the Holy Roman Empire under Hohenstaufens and Rhineland while Gothic styles spread to England and France in the 12th century.
Romantic tradition
In the 12th century, Roman architecture, called Norman Gothic in England, was established throughout Europe and provided the basic architectural form and unit that remained in evolution during the medieval period. Important building categories: cathedrals, parish churches, monasteries, palaces, palaces, large halls, gates, and civil buildings have been erected in the Roman period.
Many architectural features associated with Gothic architecture have been developed and used by Roman building architects, but not fully exploited. These include striped bells, buttresses, clustered columns, ambulances, wheel windows, towers, stained glass windows, and tympana richly carved doors. These features, ie ribs and pointed arches, have been used since the late 11th century in Southern Italy, Durham, and Picardy.
Basically it is the widespread introduction of a feature, a pointy arch, which brings the change that separates Gothic from Romanesque. Technological change permits stylistic changes that break the masonry tradition of massive and solid walls penetrated by small openings, replacing them with a style in which visible light prevails over substance. With its use comes the development of many other architectural devices, which were previously tested in dispersed buildings and then called into service to meet the structural, aesthetic and ideological needs of the new style. These include flying support, mountain tops and magnetized windows depicting Gothic ecclesiastical architecture.
Transition from Roman to Gothic architecture
Gothic architecture does not emerge from the Roman tradition of dying, but from Roman style at the peak of its popularity, and will replace it for years. The shift in style that began in the mid-12th century took place in the environment of many intellectual and political developments as the Catholic Church began to grow into a powerful political entity. Another transition made by Gothic is the transition from rural monasteries from Romanesque into urban environments with new Gothic churches built in rich cities by secular clergy who know well the growing unity and strength of the Church. The characteristic forms that define Gothic architecture grew out of Roman architecture and developed in several different geographical locations, as a result of different influences and structural requirements. While the dome per barrel and the crotch of the crotch are typical of the Romanesque architecture, the striped cabinets were used in many later Roman churches. The first examples of the striped dome, on the thick walls of the Romanesque church, appeared at the same time in Sicily, Normandy and England at Durham Cathedral (from 1093 before 1110), Winchester, Peterborough and Gloucester, choir and transept from Lessay Abbey, Duclair and Saint Paul Church in Rouen. The geometric ornaments borne by these multiple domes prove the desire for more decoration, and this will be answered later by architects working in Ile-de-France, Valois, and Vexin.
Then the French project from 1125 to 1135 shows enlightenment of contoured vaults in single or double convex profiles and thinner walls. Notre Dame de Morienval Abbey in Valois is one example, with a dome covering an ambulatory trapezoid around, light support and a dome to be copied at Sens Cathedral and Suger's Basilica from Saint-Denis. While Norman's architects will also participate in this development, Romanesque in the Holy Roman Empire and Lombardy will remain the same with little experimentation by jumping over the dome. Two other features of Norman Romanesque, a wall of support and a thick "clamshell" wall at the height of the window, then played a role in the birth of Gothic architecture. This double wall, a convenient way to reach the window, organized the hall of recyclables that first appeared in Bernay and JumiÃÆ'¨ges Abbey transeptes around 1040-50. This window-level alley gives the illusion of weightlessness, inspires Noyon Cathedral, and will affect the entire Gothic art form.
Other characteristics of early Gothic architecture, such as vertical shafts, clustered columns, compound poles, tracery plates and narrow aperture groups have evolved over the Roman period. The western part of Ely Cathedral exemplifies this development. Internally the three tier arrangements of the arcade, gallery and clerestory were established. The interior becomes brighter with the insertion of larger windows.
Norman Sicily is an example of socio-cultural interaction between Western, Moslem and Byzantine cultures on the island that spawns new concepts of space, structure and decoration. The new Norman rulers began to build various constructions in the so-called Arab-Norman style. They combine best practices of Arabic and Byzantine architecture into their own art. In this period there was a strong relationship between Roger II of Sicily and Abbot Suger in France.
All modern historians agree that the Sensor Cathedral of St. Denis and Henri Sanglier, the Sens Cathedral shows the development of Roman architectural features of Norman into the Gothic through the booking of a new interior space, which is accommodated by the support of free standing support and vice versa, and a shift of emphasis from sheer size to the inclusion of light. The addition or re-modeling then prevented the observations of both structures in their construction time, the original plan still re-created their respective plans and, as Francis Salet points out, the Sens (the older of the two) still uses Romanesque plans with ambulances and no transept and echoes by supporting the turn of the elder Norman. Tall high-level bulge, openings above the dome, and windows not derived from Burgundy, but from the third division in Normandy and England. Even the sekspartite dome of the Sens nave probably originates from Norman, although the presence of a joking wall belies the Burgundian influence in design. Sens will, regardless of the features of the ancient Norman, use a lot of influence. From Sens spreads the depreciation or elimination of transept, space sekspartite, interior back and forth, and the three-story elevation of the churches of the future.
Abbot Suger
The early Gothic style was held by all modern historians to be in the first half of the 12th century at the Basilica of St. Denis in the Ile-de-France, the domain of the Capetian kingdom's rich empire in wool industry and trade, because of the records he left behind during the reconstruction which he wanted from this renovation, rather than the contemporary churches exploring some of the same ideas used at St. Denis. Suger believed in the spiritual power of light and color, following his third century pagan philosophy, Dionysius, Areopagite, whose identity was united with Paris's patron saint, and guided him in the end to ask for a large stained window. glass. The new church also needs to be bigger than the previous Carolingian building to allow more pilgrims to party in the church. The solution, Suger discovered, was to make the unprecedented use of a striped vault and pointed arch. Plan of St. Denis has some very irregular shapes in her bay, prompting her architect to build the arch first so that different height arches have the same keystone at the same height. Furthermore infill added, and this method is proven to provide visual stimulation and accelerate the construction.
The choir and the western part of the Abbey of Saint-Denis became prototypes for further development in the territory of the northern French kingdom and in the Duchy of Normandy. Through the power of the Angevin dynasty, new styles were introduced to England and spread throughout France, Low Countries, Germany, Spain, northern Italy, and Sicily.
Compared to Sens Cathedral, St.-Denis is more complex and innovative. There is a clear distinction between ambulatory covers around the choir, dedicated 11 June 1144 before the King, and the pre-Suger narthex, or antenave, (1140) originating from the Pre-Romanesque Ottonian Westwerk , and it seen in large bundles composed of various angles and some projecting directly under the volumes of the rib file. However, in iconographic terms, the three portals show, for the first time, a statue that proved to be no longer Romanesque.
Spread
Even when the role of the monastic order seemed to diminish in the early Gothic era, the command still had their own part to play in the Gothic style spreading, also denying Romanesque's general evaluation as a rural and Gothic monastic style. as the city's ecclesiastical style. Leaders among the early promoters of this style were the Benedictines in England, France, and Normandy. The gothic churches that can be attributed to them include Durham Cathedral in England, St Denis Monastery, VÃ © Å © zelay Abbey, and Abbey of Saint-Remi in France. Benedictine projects (construction and renovation) were made possible by the continuation of the Benedictine order throughout the Middle Ages, including the Reims Monastery of Saint-Nicaise, the Rouen Abbey of Saint-Ouen, the Monastery of Saint Robert in La Chaise-Dieu, and the Mont Saint -Michel in France; The English examples are Westminster Abbey, and the reconstruction of the Benedictine church in Canterbury. The Cistercians also have a hand in spreading Gothic styles, first utilizing the Roman style to their monasteries since their inception as a reflection of their poverty, they became a total spreader of Gothic styles as far east and south as Poland and Hungary.. The smaller orders, Carthusians and Premonstratensians, also built about 200 churches (usually near the city), but it was the command of beggars, Franciscans and Dominicans, who most influenced the art changes from Romanesque to Gothic in the 13th and 14th centuries. From military orders, the Templars did not contribute much while the Teutonic Order distributed Gothic art to Pommern, East Prussia, and the Baltic region.
Characteristics of Gothic style
While many secular buildings exist from the Middle Ages Late, it is in cathedrals and large churches that Gothic architecture shows the structure and characteristics that are relevant to its fullest advantage. The nineteenth-century art historians and critics, used for the 17th and 18th century Baroque or Neoclassical works, were struck by the towering heights of a Gothic cathedral and made extreme length notes compared to the proportionate width and accent support groups of colonnettes.. This emphasis on verticality and light applied to ecclesiastical buildings is achieved by the development of certain architectural features of the Gothic style which, when together, provide inventive solutions to a variety of engineering problems. As EugÃÆ'¨ne Viollet-le-Duc observes, Gothic cathedrals, almost always arranged in the shape of a cross, are based on a logical framework of clustered columns, pointed dome and flying supports arranged in the arch system and the attached diagonal arch. a dome plane that allows the outward thrust provided by the crotch dome to be channeled from the wall and to specific points on the supporting mass. The result of this curvature within the domes and arches of the church is an indeterminate local thrust foundation studied by architects to fight against the opponent in the form of a flying support and weight application calculated through the summit. The dynamic system of these constituent elements fills certain roles that allow slimming on the previous large walls or their replacement with windows. The gothic churches are also very well decorated and decorated, serving as the Bible of the Poor and their construction record in stained glass windows that recognize light into the interior of the church and some gargoyles. These structures, for centuries as a major landmark in a city, will often be overcome by one or more towers and tall towers and possibly high towers.
Drive the curve
One of the hallmarks of Gothic architecture is the pointed arch (or ogival), and is used in almost any place, the domed form can be referred to as structural or decorative considerations, such as doors, windows, arcades, and galleries. The location of the gothic above the room, regardless of its size, is sometimes supported by very well formed ribs. The constant use of the pointed arch at the Gothic arch and its decoration ultimately leads to the creation of the extinct term "ogival architecture" today.
The pointy arch is also a characteristic of Near Sassanese pre-Islamic Near Eastern architecture adopted in the 7th century by Islamic architecture and appears in structures such as Al-Ukhaidir Palace (775 AD), the Abbasid reconstruction of Al-Aqsa mosque. in 780 AD, Ramlah Cistern (789 AD), Grand Mosque of Samarra (851 AD), and Ibn Tulun Mosque (879 AD) in Cairo. One of its earliest uses in Christian architecture is at Ani Cathedral (989 AD), designed by Trdat the Architect. It also appears in the Great Mosque of Kairouan, the CÃÆ'³rdoba Cathedral, and some structures from Norman Sicily. Later, it appeared in several Romanesque works in Italy (Cathedral of Modena) Burgundy (Autun Cathedral), which was later dominated by Gothic architects for Notre-Dame de Paris cathedral and Noyon Cathedral. Yet the view of the majority of scholars is the idea that pointed arches are the simultaneous and natural evolution of Western Europe as a solution to the dominating dome spaces of irregular plans, or to bring the dome across to the same altitude with the diagonal dome, as evidenced by the nave alley Durham Cathedral, built in 1093. Pointing arches also occur extensively in arcanesque blind arcanes, where semicircular archs overlap each other in simple decorative patterns and their points of accidents in design. In addition to being applied to rectangular or irregular shapes, curvilinear curvature curves to pillars or bearing columns at steep angles, allowing architects to raise the dome much higher than is possible in Roman architecture. When used with other distinctive features of Gothic construction, a reciprocal system of independence in handing out the heavy dome of Gothic dome roofs and dome appears.
Rows of arches pointed at the fine axis forming a distinctive wall hanging known as blind arcading. Niches with pointed arches containing sculptures are a major external feature. The pointed arch lends itself to describing the forms of intersection that develop within the window spaces into the intricate Gothic tracery that forms the structural support of large windows that are characteristic of the force.
The striped dome, another key feature of the Gothic style, has an equally colorful history, has long been adapted for the Romans (Villa of Sette Bassi), Sassanian, Islam (Abbas I Mosque in Isfahan, Mosque Cristo de la Luz), Romanesque (L'HÃÆ'Â' pital-Saint-Blaise), and then Gothic style. Until the height of the Gothic era, some Western rib barks matched the complexity of Islam (mostly Moors), beginning with experiments in Armenia and Georgia, from the 10th to the 13th centuries, such as the striped dome (Ani Cathedral and the Nikortsminda Cathedral), diagonal arches square (Ani), and arches perpendicular to the wall (Homoros Vank). However, the function of this dome is entirely structural rather than decorative, as in Gothic cathedrals. However, their indrect method of supporting safes through his shoulders has been found at Casale Monferrato, the Guinette Tour, and in a tower at the Bayeux Cathedral. One reason for this may be the record of economic and political exchanges between some Western Europe and Armenia, which might explain the similarities between Armenian architecture and the striped dome at San Nazzaro Sesia and at Lodi Vecchio di Lombardy and the Abbey of Saint Aubin in Angers. Brother ribbed see something from the golden age of development in the Anglo-Norman period, and leads to the formation of the French Gothic and outlines many future Gothic solutions for support issues with support.
Height
The characteristic of Gothic church architecture is its height, both absolute and proportional to its width, the verticality that shows aspirations to Heaven. Part of the main body of the Gothic church usually shows its center much higher than the width. In the UK the proportion is sometimes greater than 2: 1, while the greatest proportional difference is reached in Cologne Cathedral with a ratio of 3.6: 1. The highest internal dome is at Beauvais Cathedral at 48 meters (157Ã, ft). The pointy arch, which is a suggestion of altitude, is an appearance that is characteristically enhanced further by architectural features and decoration of buildings.
Verticality is emphasized on a massive exterior by towers and towers, the characteristics of large and small Gothic churches vary from church to church, and in a lesser way by projecting strong vertical support, with a narrow half-column called attached shafts that often pass through several floors of buildings, with long narrow windows, vertical prints around doors and figurative statues that emphasize vertically and are often attenuated. Roof lines, saddle roofs, supporting tips and other parts of the building are often terminated by small peaks, the Milan Cathedral becomes an extreme example in the use of this form of decoration. In Italy, towers, if any, are almost always separate from buildings, such as in Florence Cathedral, and often from previous structures. In France and Spain, the two towers ahead are the norm. In England, Germany and Scandinavia this is often the setting, but the English cathedral can also be overcome by large towers at the intersection. Smaller churches typically have only one tower, but this can also happen in larger buildings, such as Salisbury Cathedral or Ulm Minster in Ulm, Germany, completed in 1890 and has the world's tallest tower, slightly above Lincoln Cathedral, the highest peak tower that was completely finished during the medieval period, at 160 meters (520Ã, ft).
On the inside of the building, the built axle often sweeps uninterruptedly from floor to ceiling and fills the ribs of the vault, like a tall tree spreading into the branches. Verticals are generally repeated in window treatments and wall surfaces. In many Gothic churches, especially in France, and in the Perpendicular period of British Gothic architecture, vertical elemental maintenance in galleries and tracery windows creates a very strong unification feature that opposes the horizontal divisions of the interior structure..
Plan
Most of the Gothic churches and many smaller parish churches are from the plan of the Latin cross (or "cross"), with the length of the center of the church, the transverse arms called the transept and, beyond, the extension of which can be called chorus, chancel or presbyter. There are several regional variations on this plan.
The nave section is generally flanked on both sides by a gang, usually single, but sometimes double. The middle is generally much taller than the alleys, having a window keeper of light that illuminates the central space. Gothic churches from the German tradition, such as St. Stephen from Vienna, often has naves and alleys of the same height and is called Hallenkirche . In Southern France there is often a wide nave and no alley, as in Sainte-Marie in Saint-Bertrand-de-Comminges.
In some churches with double aisles, like Notre Dame, Paris, the transept does not project outside the alley. In English the cathedral transepts tend to project boldly and there may be two of them, as in Salisbury Cathedral, although this is not the case with the lower churches.
The eastern arm shows considerable diversity. In England it is generally long and may have two distinct parts, both chorus and presbytery. It is often square ended or has a projected Lady Chapel , which is dedicated to the Virgin Mary. In France the eastern end is often polygonal and is surrounded by a road called the ambulatory and occasionally a chapel ring called "chevet". While German churches often resemble France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as in Florence Cathedral.
Another distinctive characteristic of Gothic, domestic and ecclesiastical styles, is the division of interior space into individual cells according to wobble and curvature of the building, regardless of whether the building actually has a domed ceiling. The system of cells of various sizes and shapes juxtaposed in various patterns was completely unique to ancient and early medieval times and scholars, including Frankl, have emphasized the mathematical and geometrical nature of this design. Frankl especially considers this layout a "division-based creation" and not Romanesque's "creation by addition". Others, Viollet-le-Duc, Wilhelm Pinder, and August Schmarsow, have proposed the term "articulation architecture." The opposite theory as suggested by Henri Focillon and Jean Bony is "spatial union", or the creation of interiors made for excessive sensors through the interaction of many elements and perspectives. Interior and exterior partitions, often studied extensively, have been discovered at times containing features, such as highways at the height of windows, which create the illusion of thickness. In addition, the pier that separates the islands eventually ceases to be part of the wall, but independent objects that protrude from the walls of the alley itself.
Light and window
One of the most visible elements of Gothic architecture is the shrinking of walls and the insertion of large windows. People like Viollet-le-Duc, Focillon, Aubert, and Max Dvo? ÃÆ'k confirms that this is one of the most universal features of the Gothic style. Yet another of the Roman styles, the windows grew in size as evolved Gothic styles, eventually virtually eliminating all the space-walls as in the Paris Sainte-Chapelle, recognizing a great deal of light into the church. This vast interior light has been a feature of Gothic cathedrals since their inception, and this is because the function of space in the Gothic cathedral as a function of light is very much mentioned in contemporary text. The metaphysics of light in the Middle Ages led to the belief of the clergy in divinity and the importance of display in the sacred setting. Much of this belief is based on the writings of Pseudo-Dionysius, a 6th-century mystic whose book, The Celestial Hierarchy, is popular among French monks. Pseudo-Dionysius argues that all light, even light reflected from metal or that is streamed through a window, is divine. To promote such beliefs, the abbot in charge of the Saint-Denis church on the northern edge of Paris, Abbot Suger, encouraged architects to restore buildings to make the interior as bright as possible.
Since the renovated Saint-Denis Basilica opened in 1144, Gothic architecture has a large window, such as in Sainte Chapelle, York Minster, Gloucester Cathedral. The increase in size between the Roman and Gothic period windows is linked to the use of striped dome, and in particular, the pointed dome that transmits the weight to the support shaft with less thrust out of the semicircular vault. The walls need not be too heavy.
The next development is a flying support that bends outward from the dome spikes on the alley roof to a large supporting dock that projects far beyond the outer wall line. This pier is often surpassed by shoots or sculptures, further weighting down, and counteracting the outer impulses of dome and support arches and the pressure of wind loading.
Internal columns of arcades with installed axes, ribs of safes and flying supports, with vertical interlocking supports protruding at right angles to buildings, creating stone skeletons. Among these parts, the walls and contents of the vault can be a lighter construction. Among the narrow supports, the walls can be opened into large windows.
Through the Gothic period, thanks to the flexibility of the pointed arches, Gothic window structures evolved from simple openings to extremely rich and decorative sculptural designs. The windows are very often filled with stained glass that adds dimension to the light inside the building, and provides a medium for figurative art and narration.
Noble
The faÃÆ'§ade of the cathedral or the cathedral, often referred to as the west front (due to orientation), is generally designed to create a strong impression on the worshipers approaching, demonstrating both the power of God and the strength of the institute it represents. One of the most famous and most typical of such façade is the Notre Dame de Paris.
The façade center is the main portal, often flanked by additional doors. In the arch of the door, the tympanum, is often an essential part of the statue, most often Christ in Majesty and Judgment Day . If there is a central door or trumeau, it often carries the statue of Madonna and Child . There may be many other carvings, often in niches arranged in prints around the portal, or in sculpture that runs in the façade.
Above the main portal there is usually a large window, like that in York Minster, or a group of windows like the one at the Ripon Cathedral. In France there is usually a rose window like that in Reims Cathedral. The rose windows are also often found in the faÃÆ'§ades of Spanish and Italian churches, but rarely elsewhere and not found in the faÃÆ'§ades of any British Cathedral. The saddle gilders are usually richly decorated with arcading or sculpture or, in the case of Italy, can be decorated with the rest of faÃÆ'§ade, with polychrome marble and mosaics, as in the Orvieto Cathedral.
The Western Front of the French cathedral and many British, Spanish and German cathedrals generally have two towers, which, in particular in France, express the incredible diversity of shapes and decorations. However some German cathedrals have only one tower located in the center of façade (like Freiburg MÃÆ'¼nster).
The basic form of Gothic curv and style character
The manner in which the pointed arch is designed and utilized is developed throughout the Gothic period. There is a fairly obvious developmental stage that does not develop at the same level or in the same way in every country. In addition, the names used to define different periods or styles in Gothic architecture differ from one country to another. The work of art historian Hans R. Hahnloser and Robert Branner in the study of manuscripts and architectural drawings shows that the use of geometric shapes and proportions in squares, circles, semicircles, and equilateral triangles, abandoned in the Renaissance, was a constant effort in the Middle Ages.
The transverse arch, perpendicular to the upper level of the wall and hidden beneath the gallery roof, appeared around 1100 in Durham Cathedral and in the CÃÆ' © risy-la-ForÃÆ'ªt and was thought to have been used to facilitate the roofing and construction of supporting walls, as there was no need to provide support further to the thick Roman walls. Used in the central part of Durham and at the Caen monastery in Saint-Trinità ©  ©, this practice will also be used by Gothic architects at Saint-Germer-de-Fly Abbey and Laon Cathedral. Further application and refinement of this technique since the eleventh century made the goal of clearer transversa, culminating in the late 12th century, when architects used his gallery to prop up the upper echelons of a church.
Lancet arch
The simplest form is a long opening with a pointy arch known in England as a lancet. Taper openings are often grouped, usually as groups of three or five. The Lancet's opening may be very narrow and sharp. The pointed arch is usually defined as a two-center arch whose fingers are larger than the curved span.
Salisbury Cathedral is renowned for the beauty and simplicity of the Lancet Gothic, known in England as the Early English Style. York Minster has a group of lancet windows each fifty feet tall and still contains ancient glass. They are known as the Five Sisters. These unassumingly decorated grouped windows are found in Chartres and Laon Cathedrals and are widely used in Italy.
Equilateral arcet
Many Gothic openings are based on an equilateral form. In other words, when the curve is arranged, the radius is exactly the opening width and the center of each curve coincides with the point from which the curved springs are opposite. This makes the curvature higher in relation to its width than the semicircular arch which is exactly half the width.
The eclateral arch provides a satisfactory wide opening of satisfactory proportions for doors, decorative arcades and large windows.
The structural beauty of the Gothic arch means, however, that no established proportions should be rigidly maintained. The parallel arch is used as a useful tool, not as a design principle. This means that more narrow or broader curves are introduced into the development plan wherever the need is determined. In the architecture of several Italian cities, especially Venice, the semicircular arch is interspersed with pointy.
The equilateral arch is suitable to be filled with simple, circular, semi-circular, and decorative shapes. The kind of tracery that evolves to fill these spaces is known in the UK as Geometric Decorated Gothic and can be seen for its wonderful effects in many British and French Cathedrals, especially Lincoln and Notre Dame in Paris. Windows from complex designs and three or more lights or vertical sections, often designed by overlapping two or more equilateral arches.
Flamboyant arch
The Flamboyan Arch is one that is composed of four dots, the top of each main arc spins upwards into smaller arcs and meets at a sharp point like fire. This arch creates a rich and vivid effect when used for window ornaments and surface ornaments. The shape is structurally weak and very rarely used for large openings except when present in larger and more stable arches. It is not used at all for vaulting.
Some of the most beautiful and famous traceried windows from Europe use this type of decoration. It can be seen at St. Stephen's in Vienna, Sainte Chapelle in Paris, in the Cathedral of Limoges and Rouen in France. In England the most notable example is the York Minster West Window with its designs based on the Sacred Heart, the richly light nine-light East Wind in Carlisle Cathedral and the beautiful East window of Selby Abbey.
The doors are overcome by Flamboyan prints very common in ecclesiastical and domestic architecture in France. They are rarer in the UK. An important example is the door to the Chap Room in Rochester Cathedral.
This style is widely used in the UK for walls and niches. Key examples are the Lady Chapel at Ely, Screen in Lincoln and externally at the faÃÆ'§ade of Exeter Cathedral. In Gothic architecture Germany and Spain often appear as filigree screen on the outside of the building. This style is used for rich and sometimes extraordinary effects in these two countries, especially in the famous pulpit of the Vienna Cathedral.
Arrows depression
The distressed arches or the four centers are much wider than the height and provide a visual effect that has been flattened under pressure. The structure is accomplished by arranging two arcs that rise sharply from each spring point to a small radius and then turn into two arches with a wide radius and a much lower spring point.
This type of arch, when used as a window opener, is suitable for a very large space, provided it is supported by many narrow vertical axles. This is often further amplified by horizontal transoms. The overall effect produces an appearance like the usual shape, smooth, rectangular shape with an emphasis on perpendicular. It is also used as a wall decoration where arcades and window openings are part of the overall decorative surface.
The style, known as perpendicular vertebrate, evolved from this treatment specifically to the British, although very similar to contemporary Spanish style in particular, and was employed for great effects through the 15th century and the first half of the 16th, because the Renaissance style was much slower. to arrive in England than in Italy and France.
This can be seen especially in the East End of Gloucester Cathedral where the East Window is said to be as big as a tennis court. There are three very famous royal chapels and Chapel-like Convent that show the most elaborate style: King's College Chapel, Cambridge; St. Chapel George, Windsor; Henry VII Chapel in Westminster Abbey and Bath Abbey. But very much simpler buildings, especially churches built during the wool boom in East Anglia, are a great example of that style.
Symbolism and ornamentation
Gothic cathedrals represent the universe in microcosms and every architectural concept, including the greatness and great dimension of structure, is meant to convey theological message: God's glorious. Buildings become microcosms in two ways. First, the mathematical and geometrical nature of construction is a picture of an orderly universe, in which the underlying rationality and logic can be perceived.
Secondly, statues, sculptures, stained glass and murals combine the essence of creation in the depiction of the Labor of the Month and Zodiac and the sacred history of the Old and New Testaments and the Life of the Saints, as well as a permanent reference to the Last Judgment and the Coronation of the Blood Virgin .
Decorative schemes usually include Bible stories, which emphasize the visual typology of the Old Testament prophecies and the New Testament.
Many churches are decorated very luxuriously, both inside and outside. Details of sculpture and architecture are often bright with colored paint that traces remain in Chartres Cathedral. Ceilings and wood panels are usually brightly colored. Sometimes the stone columns in the center are painted, and the panels within the curve of the decorative wall contain a narrative or a figure of a saint. It rarely remains intact, but can be seen at the Westminster Abbey Courthouse.
Some important Gothic churches can be as simple as the Basilica of Mary Magdalene in Saint-Maximin, Provence where the local tradition of Roman architecture is quiet, massive, still strong.
Regional differences
Wherever Gothic architecture is found, it is subject to local influences, and often the influence of masons and craftsmen, bringing ideas between cities and sometimes between countries. Certain traits are typical of certain areas and often override the style itself, appearing in buildings hundreds of years away.
French
The peculiar characteristics of the French cathedral, and the people in Germany and Belgium that are strongly influenced by French churches, are high and their impression of verticality. Each of the French cathedrals tends to blend with style when compared to the English cathedral where there is great diversity in almost every building. They are compact, with little or no projection of transepts and subsidiary chapels. The western front is very consistent, has three portals overcome by rose windows, and two large towers. Sometimes there are additional towers at the end of the transept. The eastern end is polygonal with ambulances and sometimes chevettes radiating the chapel. In the south of France, many large churches without transepts and some without alley.
English
The distinctive characteristic of the English cathedral is their extreme length, and their internal emphasis on horizontal, which can be emphasized visually as much as or more than the vertical line. Every English cathedral (except Salisbury) has a remarkable degree of stylistic diversity, compared to most French, German and Italian cathedrals. It is not unusual for any part of the building that has been built in different centuries and in different styles, without the effort of creating a unified force. Unlike French cathedrals, English cathedrals are sprawled on their sites, with strongly projecting transects and Lady Chapels embedded later on, like in Westminster Abbey. In the west, the doors are not as important in France, the ordinary church entrance through the side porch. The West Window is huge and there is never a rose, provided for the transept network. The western front may have two minarets like the French Cathedral, or none. There is almost always a tower at the intersection and it may be very large and overcome by the top of the tower. The typical English east end is square, but may be an entirely different form. Both internally and externally, stones are often decorated with carvings, especially the capital.
Czech, German and Polish lands
Romantic architecture in Germany, Poland and the Czech Republic (formerly called Bohemia) is characterized by its large and modular nature. This characteristic is also expressed in the Central European Gothic architecture in large sizes of towers and towers, often projected, but not always finished. Gothic designs in Germany and Czech soil, generally follow the French formula, but the towers are much higher and, if complete, are overcome by large towers that are regional features. Due to the size of the tower, the façade part of them may appear narrow and compressed. The distinctive character of German Gothic cathedral interior is their breadth and openness. This is the case even when, as in Cologne, they are modeled on French cathedrals. German and Czech cathedrals, such as France, tend not to have strong projection transepts. There are also many church halls ( Hallenkirchen ) with no sign windows. Unlike the Gothic designs found in the German and western Czech regions, which follow the French pattern, Brick Gothic is very prevalent in Poland and northern Germany. Polish gothic architecture is characterized by its utilitarian nature, with the use of very limited sculptures and heavy exterior designs.
Spanish and Portuguese
The peculiar characteristic of the Gothic cathedral of the Iberian Peninsula is their spatial complexity, with many fields of different shapes different from each other. They are relatively broad, and often have very high arcades overcome by low clerestories, giving the same broad appearance to the German Hallenkirche as in the Batalha Monastery Church in Portugal. Many of the cathedrals are completely surrounded by chapels. Like the English cathedral, each of them often stylishly diverse. It expresses itself both in the addition of the chapel and in the application of decorative details drawn from different sources. Among the influence on decoration and form is Islamic architecture and, towards the end of the period, Renaissance detail is combined with Gothic in a distinctive way. The western front, as in the Cathedral of Leon, usually resembles the western French front, but is broader in high proportions and often with a greater diversity of detail and a combination of intricate ornaments with wide plain surfaces. In Burgos Cathedral there is a German-style tower. Roof lines often penetrate parapet with a little peak. There are often towers and domes of various forms and structural discoveries that rise above the roof.
Aragon
In the region under the Crown of Aragon (Aragon, Catalonia, Roussillon in France, the Balearic Islands, the Community of Valencia, among others on the Italian islands), Gothic styles suppress the transept and make side alleys almost as high as the main core, creating a wider space , and with a little decoration. There are two different Gothic styles in the land of Aragon: Catalan Gothic and Gothic Valencian, which are different from those in the Kingdom of Castile and France.
The most important samples of the Catalan Gothic style are the Girona cathedral, Barcelona, ​​Perpignan and Palma (in Mallorca), the basilica of Santa Maria del Mar (in Barcelona), BasÃÆ'lica del Pi (in Barcelona), and the church of Santa Maria de l'Alba in Manresa.
Contoh Paling Penting of Gaya Gothic Valencian of Kerajaan Valencia adalah Valencia Cathedral, Silk Market (Warisan Dunia Unesco situs), Torres de Serranos, Torres de Quart, Biara San Jerónimo de Cotalba, of Alfauir, Istana Borgias de Gandia, Biara Santa MarÃa de la Valldigna, Basilica Santa Maria, Alicante, Orihuela Cathedral, Catedral CastellÃÆ'³ dan El FadrÃÆ', Segorbe Cathedral, dll.
Italy
The distinctive characteristic of Italian Gothic is the use of polychrome decorations, both externally as marble veneers on the faÃÆ'§ade brick and also internally where the curvature is often made of alternating black and white segments, and in which columns can be painted red, the walls are adorned with frescos and apsis with mosaic. The plan is usually organized and symmetrical, the Italian cathedral has several columns and lots of spaces. The proportions are generally mathematically balanced, based on the quadratic and the concepts " armonÃÆ'¬a ," and except in Venice where they love the flamboyant arch, the curvature is almost always the same. Colors and prints define architectural units rather than mix them. The cathedral faç§a Italy is often polychrome and probably termas
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