Montmartre Research Paper

When a town has a really big and grand church, it brings in tourism and trade.Because gothic churches were bigger and more elevated than romanesque churches, Gothic churches soon became the life source of towns. Towns would try to emphasise the power and authority of churches through space. Because of this tourism, money, education and control was brought to the town.The idea of having soaring towers could mean

How is Montresor an expert in his revenge in “The Cask of the Amontillado”? Montresor’s actions throughout the story show his deceitful and devious ways. One way he does this is by pre-planning the murder of Fortunato. Montresor put the the brick like rocks and cement material into place in the catacomb. With this premeditated plan, Montresor is cleary planning on killing Fortunato that night.

To make sure that Montresor succeeds in his perfect revenge and meets his need to punish with impunity, he needs an overt way to ensure that Fortunato knows who killed him. Montresor was able to do this by locking Fortunato in the Montresor family’s catacombs and bricking him in, all the while listening to his screams. Another indication that Montresor is not solely obsessed with revenge is his feelings of

Gothic architecture was the style that was invented in this era to identify or distinct themselves from the rest of the world. It was a form to show their French patriotism and a destination for pilgrim. Gothic architecture is remarkable for its pointed arches, column, and higher walls. Gothic architecture began with Abbot Suger’s undertaking of the construction of Saint-Denis in 1140. Then, it was used in the cathedral of Notre Dame, Chartres Cathedral, and Amiens cathedral. The differences between the later constructions and the previous one are the nave design and the height since people from the High Middle Ages believed that the height of the building represent their civil pride; therefore, the higher the building, the more pride they have, and the closer they can reach the god. One of the distinction of the Gothic style is the Gargoyles. Its function is to funnel rainwater off the roof. Gargoyles also signified the religious symbol of fleeing evils from the sacred precincts of the church. The decoration also served as the vocabulary during the sermons. Moreover, Gargoyles exemplified of collaboration of builders and theologians for the first time. Lastly, the stained glass window

The ultimate expression of French Gothic architecture with magnificent stained glass windows lies within the Sainte-Chapelle. Sainte-Chapelle is considered a perfect example of the Rayonnant style of Gothic architecture. Sainte-Chapelle is located within the Palais de Justice complex on the Ile de la Cité, in the center of Paris. King Louis IX commissioned Sainte-Chapelle between 1241-1248 to house his relics and Christ’s Crown of Thorns. Louis IX bought the Crown of Thorn for 135,000 Livres. For comparison, to build the entire Sainte-Chapelle cost 40,000 Livres. Now, Sainte-Chapelle is one of the most visited Catholic Church and considered one of the greatest sites of Gothic Art. The beauty of Sainte-Chapelle is broke down into a few major categories: exterior, lower, upper, and the stained glass windows. Over the centuries, the Chapelle suffered from a fire in 1630, 1776 and from the French Revolution, causing the Chapelle to go under restoration. Although some relics were never found again, some are kept in Notre-Dame Cathedral and the National Library.

The medieval Gothic cathedral was in many ways a civic building as well as a religious one. This particularly was the case with the famous cathedral Notre-Dame de Chartres (Our Lady of Chartres) in the town of the same name, 80km south-east of Paris, built in the 13th century. Chartres cathedral was planned not only as a place of worship, but also developed as the centre of the town's economy and way of life, as the place that housed the relic of the cloak of the Virgin Mary. The local citizens assisted the building of the cathedral by providing the labour, giving food to the workers and donating money to pay for its construction. The architecture of the cathedral dominated the town in the way that modern

While constructing both of these cathedrals there were sculptures created that represented narratives of theology and mysticism. Both were created for a place of worship that’s why sculptures and paintings of religious images were added. This showed a great respect for the belief in Christ and the surrounding believers.

With the wave of the Middle Ages, past, the town fathers of Florence, Italy, decided to finally complete the dome on their beloved Cathedral, Santa Maria del Fiore. With the defeat of the Roman Empire, much of the Roman cultural arts were lost. No one could figure out how the Romans built so many magnificent domes and arches. As plans were made to build the arch in 1418, many ideas were presented and rejected except one.

Piece of Evidence #4 [In this paragraph I will be talking about the interior of St. Paul cathedral]

During the first half of the Early Renaissance Brunelleschi’s architecture incorporated classical influences. In Brunelleschi’s building, he incorporated a longitudinal/ basilica plan and also created a flat ceiling to give it a more human scale. The building includes classical references like coffers and arcade, while also including arcaded columns, which form the side aisles and shallow side chapels. The building was also mathematically designed in a geometric form. The building of San Lorenzo was a starting point, which later evolved when other architects like Alberti came along.

Paying homage to the city's patron saint, this church is embellished with strokes of history and luxurious architecture that can be seen on its pews, altars and facade. The church is now a place frequented by visitors due to its magnificence.

Paul. The exterior of saint Paul consists throughout of two orders, the lower Corinthian, the upper composite. On the north and south border, the uppermost form is hardly a curtain-wall, not comparable with height of the hallway and cover up the flying buttresses that backing the clerestory of the nave. The post along the top was added against the choice of Wren, who desperately mentioned it that ladies expect nothing well work without the edging, The west front has a lower portico of twelve columns’ and an uppermost one of eight columns. The cathedral beaux arts architecture is characterized by rounded domes and arches. The church body is made of granite stone from St. Cloud, in shape of Greek cross. It has three front entrances rest under a monumental

n 1418 the town fathers of Florence finally addressed a monumental problem they’d been ignoring for decades: the enormous hole in the roof of their cathedral. Season after season, the winter rains and summer sun had streamed in over Santa Maria del Fiore’s high altar—or where the high altar should have been. Their predecessors had begun the church in 1296 to showcase the status of Florence as one of Europe’s economic and cultural capitals, grown rich on high finance and the wool and silk trades. It was later decided that the structure’s crowning glory would be the largest cupola on Earth, ensuring the church would be “more useful and beautiful, more powerful and honorable” than any other ever built, as the grandees of Florence decreed.

The historical context of Notre-Dame-du-Haut is tied mostly to religion. This aspect of society is important because Notre Dame-Du-Haut functions as a church and a place for pilgrimages. The hilltop that Notre Dame-Du-Haut sits on has been a place for pilgrimages since the thirteenth century C.E. ("AD Classics: Ronchamp / Le Corbusier"). There was a chapel on the hill before Notre Dame-Du-Haut. However, bombs destroyed the previous chapel during World War II. Even though the chapel was destroyed a lot of its stone was reused in the construction of Notre Dame-Du-Haut. ().

Chinlung, Hsieh. "Sacred Destinations." Photo of Luxor Temple: #19137. N.p., n.d. Web. 29 May 2015. (“http://www.sacred-destinations.com/egypt/luxor-luxor-temple”). Maderno, Carlos. Maderno, Carlos: Saint Peter’s Basilica, Façade in Rome 1607. Digital image. N.p., n.d. Web. 29 May 2015. (“http://www.britannica.com/biography/Carlo-Maderno/images-videos/Facade-of-St-Peters-Basilica-Rome-by-Carlo-Maderno-1607/12767”).