Analysis: The Basilica Of Sainte-Anne-Beaupre

The shift brought the transformation of thick columns to much thinner and “lighter” columns (Blankenbehler). However, before this architectural movement can begin, Abbot Suger struggled to reconstruct and synthesize the style of the ancient building with his ideas of modern designs. He knew that the freshness of these new designs would bring beauty and spaciousness. He wanted people to be amazed at the transformation of the once small, but soon to be large and wide feel of the basilica. To create the wide feel, Abbot Suger issued the ceiling to have a complicated web of interlocked and pointed vaults. He also chose to have arches with points so that the basilica would not need thick walls to support the arch. Thick walls would make the interior look crowded and small, something Suger did not want. By having the pointed arches, those would take the weight of the ceiling and distribute the weight across rather than being pulled down. This allowed for thin and elegant looking columns, for they were able to support the ceiling because the weight of it was dispersed. He envisioned the structure to have high ceilings, which would be supported with thinner columns (Birth of the Gothic: Abbot Suger and the Ambulatory at St. Denis). Suger also brought in the idea of having tall towers so that the building would look like it was reaching for the heavens. By reaching the heavens, it brought this concept of being closer to God and reassuring the people’s

The Notre Dame Cathedral is certainly one of the most beautiful locations in the world, as the city of Paris as a whole and the building's surroundings contribute to making visitors acknowledge the importance of this monument. Construction on the cathedral started in 1163 and was largely finished by 1250, with most of its features emphasizing Gothic influences. The building's architecture, the sculptures present in it, and the impressive stained glass all stand as reminders that the French community invested most of its cultural values into the church at the time when it was constructed.

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

Ann inside a small chapel at Beaupre on the St. Lawrence River in the province of Quebec. That same year two miracles occurred. A crippled man praying to St. Ann was healed, and a boatful of sailors in danger of drowning in a storm invoked St. Ann and were later saved. The shrine became a major destination for pilgrims, and St. Ann was named patron of Canada. This is one of her most famous shrines, the other being St. Ann d’Auray in Brittany.

The inside of St. Mary's is filled with icons of the Virgin, pictures of the life of Christ, and other saints. The images of the icons have large, eerily lifelike eyes and they convey a sense of 'specialness,' that the church is a 'sacred space' even though the architecture is not tall and lofty. St. Mary's is a Coptic church, a branch of the Orthodox faith that originated in Alexandra and is based in Egypt today. I learned this from perusing some of the literature in the church distributed for people to read, as well as later reading the website.

Near the end of the 11th century, we see the style of Romanesque architecture transfigure into what is known as the Gothic era, introduced by Abbot Suger during his rebuilding of the Abbey of St. Denis. Looking at the basilica of St. Sernin de Toulouse (1080-1120), named after the bishop who was apprehended by the former Pagan priest when Christianity was illegal, we can see the basilica is itself in shape of the cross. There are also five aisles, to suggest the five wounds of Christ, five entryways (Soltes, 12, 3:25). The most notable difference between a Romanesque church and a Gothic one can be seen in the arches. Gothic arches, ogives they’re named, are pointed instead of rounded, giving a new criss-cross pattern, as exampled in the Chartres Cathedral (12th century) (Soltes, 12, 10:40). New patterns can also be found in the buttressing, where instead of holding the framework directly through the walls, the Gothic structure works from the roof and down as if flying away, coining the term the flying buttresses (Soltes, 12, 11:15). This sort of buttressing is competent for

Jean Baptiste Roman Catholic Church was inherent an Italian Renaissance Revival and Classical Revival architectural outline. The outside structures and attributes comprise of a dome and re-colored glass windows. Additionally, on the outside of the church, the building is made out of limestone. The passageway to the congregation is plentiful with embellishments, with four Corinthian columns for strength and stability. Surrounded curved openings are typified by pilasters. Amidst the towers on the parapet there are statues of a blessed messengers in angelic form, and the rooftop is made in copper. Within the congregation has the nave, which has barrels that are separated by an arcade of vast columns. Vaults are adorned with florentine styled reliefs. The congregation has a raised sacrificial table with mosaic half arches, statues, and minor models. There is a six foot tall altar of St. Jean, utilized for supplication and thought. The surfaces and roofs are enhanced with artistic creations in Florid style. The windows portray the Twelve Witnesses from the Old Confirmation. The Last Dinner and the workings of Jesus are depicted through these windows also. The sacrificial table underneath the vault is included white marble. The seats, choir slows down, and confession booths are planned in oak, and are molded particularly. Pictures of wheat stuns and grapes are plenty in the building

Some of those main characteristics of the Gothic Architecture are the pointed arcs, ribbed vaults and flying buttress, stained glass windows, complex decoration, towers and some other details. The origins of the pointed arcs used in gothic Architecture come from the pre-Islamic and Islamic Architecture. Two-barrel vaults intersecting in a perpendicular way compose the ribbed vaults; this would give more strength to the building allowing for more windows at higher places. Flying buttress has to purpose to resist horizontal forces, by redirecting to force to the ground. The stained glass windows were ecclesiastic windows that allow light from the highest points of the building. Some of the complex decoration refers to the amount of detail such as statues, paints, and scripts on the walls.

In this essay I intend to compare and contrast the Basilica of St. Sernin and Basilica of St Denis in France with references to how they differ structurally (as Romanesque and Gothic buildings respectively) followed by critical analysis of the advancements in architectural construction methods. The progression in architectural capability from Romanesque to Gothic led to a change in how religious architecture was approached spatially, with far greater emphasis on the use of light and a desire for greater height. To assess this transition one must contextualise the periods the respective basilicas were built in and the physical limitations as well as architectural preferences of the time. One must further assess why previously unfeasible technologies that now elevated the height of buildings and placed a greater emphasis for infiltration of light were required for religious reasons. This need for greater height and light exemplifies the relationship that people wanted between themselves and God in order to achieve a more fulfilled experience of their religion. This essay will attempt to consider and evaluate the dramatic change in the architectural style of Churches and Cathedrals and the transition from Romanesque to Gothic indicating the lasting impact these processes have left on history.

The Gothic ivory statuette is of the Virgin Mary standing in a vertical composition. Mary’s body pushes against the force of gravity; she seems tall and strong. The nature of the vertical composition forces the viewer to look at the image from top to bottom. As we examine Mary, she feels natural and relaxed because she stands with most of her weight shifted to one side, creating a contrapposto. This pose, though asymmetrical, provides balance when we consider the figure cradled on her hip. The Christ child sits, pressed into Mary’s side and supported by her left arm. Christ grasps the flowing folds of his mother’s veil in one hand, and in the other, he holds a fruit. Together, these figures create a triangle. Mary’s head forms the apex of the triangle where her right arm and Christ form the base corners. Mary dominates the tip of the composition, and she serves as the vertical component. The vertical nature of the piece impacts how the viewer interacts with the piece. The statuette seems to ascend, or refer to the heavens. The composition acts as a reminder that this piece holds a holy or spiritual

St. Anne, also known as Hannah or Anna, isn’t mentioned in the Bible, so all knowledge of her is from Catholic legend and the unsanctioned, apocryphal Protoevangelium of James. She became a saint because she was the mother of Mary and the grandmother of Jesus. St. Anne is the patron saint of unmarried women, housewives, women in labor, grandmothers, horseback riders, cabinet-makers and miners. Her Feast Day is July 26th. She was canonized pre-congregation.

Louis abbey chapel is circular, and this decision was made because the monks wanted to keep the congregation as close to the altar as possible, as actual participants of the Catholic ritual instead of just spectators. The design consists in parabolic arches made of thin-shell concrete, trying to create the landscape of Missouri. On the exterior of the church there are twenty parabolic arch sections in the first tiers of the circular chapel. In the second there are twenty smaller arches and on the top tier there are ten even smaller arches, which cover the bell tower. On the top, in the middle there is a big cross, a symbol of Christ. In the distance it seems lifting off from its green ridge and soaring upwards. On the inside, each arch of the first tier encloses an intimate space with a small altar. The parabolic shaped windows, just like the Gateway Arch, suggest a gothic cathedral windows. The windows are faced with dark insulated polyester, which limits the entrance of sunlight. The polyester seems to be black from the outside but it actually admits daylight into the inside creating a peaceful atmosphere. Inside the church, there is a sculpture of the Madonna and Christ child and other works from modern art by artists from France, Spain, Great Britain and the US. Also, the life-sized sculptures of Saint Benedict and the Virgin Mary decorate the church

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

This mountainous structure is seen from about every point of Paris and beyond. From the front, you can see two towers jutting out of an ordinary street. The Cathedral also features large stained glass windows, that are one of the most beautiful features of the structures. From the side, you can see the long body of the Cathedral and the spire sticking out of the top. It is somewhat overwhelming being within feet of the structure, because of the immense height and width of the church. Looking at the back, one can clearly see the dome-like structures attaching to the organ room. From the outside, you can clearly see the sculptures depicting the scenes from the Catholic religion. The cathedral is gigantic, but it is easy to process all the sections because of the distinct styles of architecture. From an

The artist, Robert Campin and his disciples, incorporated the patrons of this piece, on the left panel. The two figures pictured were the patron and his wife, which was supposed to connect the viewers with the piece and Christianity as well. The trend of making the artwork more realistic appears frequently, and artists did so through making the holy figures more humanly. Looking at earlier pieces created in the Middle Ages, the Virgin Mary, Saints, and other holy figures were depicted as on a higher, more heavenly level. Artists would elevate the feet, have them facing away from the viewer, and be depicted as highly stylized. However, as shown in The Annunciation Triptych, Campin and his workshop aspired for the viewers and the general public to feel more connected to their religion. Altarpieces were used commonly in early European’s homes, leading the artist to create a typical household scene in the second panel where Mary and the angel were pictured. Thus adding to the connection between the viewer and the Christian religion. Another altarpiece, the Isenheim Altarpiece, shares similar