The Basilica Of St Denis

In this excerpt, von Simson looks at how the writings of intellectuals influenced the development of Gothic architecture. He begins by looking at the writings of St. Augustine and his love for music and how the importance of measurement found in music also applies to architecture. He then goes on to address two important schools of thought that influenced the formation of the Gothic style: The Platonists with their focus on cosmology, and the monks at Clairvaux, including St. Bernard, who focused on spirituality. In this section, von Simson focuses on the former and the connection between the cosmos and the Gothic cathedral. He argues that these medieval scholars saw God as an architect and the cosmos as his cathedral. In his study of both St. Augustine and the Plantonists, von Simson works to identify the ways in which these intellectual schools of thought influenced Gothic architecture.

During the 10th, 11th, and 12th centuries, the Romanesque period was a time were pilgrimage was at an all-time high. Pilgrims traveled just to see the lavish churches being built and the relics they harbored. “Pilgrimages were a major economic as well as conceptual catalyst for the art and architecture of the Romanesque period” (book). With the increase in pilgrimage, church design had changed. Churches used to be built to accommodate small monastic communities, and worshipers. Now, they are being built to accommodate the pilgrims/public. Saint Saturninus at Toulouse is one example of the many churches that changed its design to welcome the new comers. It was constructed in 1070. “Builders increased the length of the nave, doubled the side aisles, and added a transept, ambulatory, and radiating chapels to provide additional space for pilgrims and the clergy” (book).

An interest in representing the Virgin Mary in religious images started in the second half of the eleventh century and continued to grow in the twelfth and thirteenth century as well. Chartres Cathedral is a representative example that has been scrutinized by many scholars due to it containing various displays of the Virgin. In this article, by Laura Spitzer with the publication of the University of Chicago Press on the behalf of the International Center of Medieval Art, it will argue on the side that these images presented Mary very unlike that assumed to lie at root of Gothic, a queenly intercessor whose appeal is universal rather than locally varied.

The architecture of the basilica is has both gothic and roman features. The building exemplifies the roman features of arches and columns that support the ceiling and does not have flying buttresses; however, the interior is very light and features many stained glass windows, which are features of gothic architecture. The basilica of Sainte-Anne-de-Beaupré contains many of these features, and also includes a barrel-vaulted ceiling in the main sanctuary that is decorated with mosaics of the lives of Saint Anne and Jesus. If visitors are lucky enough to be at the basilica during

Ziggy Marley once said, “God is like the sun. When the sun shines, it shines for everyone. God is for everyone.” In the same way, Abbot Suger built the Basilica of St. Denis so that sunlight would flood throughout the building and symbolize the power of God inviting visitors into the cathedral. The Basilica of St. Denis was an artistic response to the rise of the Catholic Church’s power for it was modeled to be a physical representation of heaven, which the church heavily preached upon. (Thesis) As the basilica represented the shift from Romanesque architecture to Gothic, Abbot Suger introduced new techniques that transformed cathedrals to look more spacious and “heavenly”. (Map Statement #1-Art History) By allowing sunlight to come

Gothic architecture is a style of architecture that evolved from Romanesque architecture and thrived in Europe during the High and Late Middle Ages. During the 13th and 14th centuries, Gothic architecture was known as opus modernum ("modern work") with the term Gothic first appearing during the latter part of the Renaissance. “The Gothic Cathedral was the unique product of an era of peace and widespread economic prosperity, deep spirituality, and extraordinary technological innovation.” (Kleiner 365) The Gothic style brought innovative new construction techniques that allowed churches and other buildings to reach great heights. The rib vault, flying buttress, and pointed (Gothic) arch were used as solutions to the problem of building a very tall structure while preserving as much natural light as possible. Light streamed through stained-glass window panels which became illuminated visual sermons of biblical stories. Gothic Cathedrals were considered by clergy and the public as “glorious images of the City of God, the Heavenly Jerusalem, which they were privileged to build on earth. There were simultaneous developments in Gothic architecture in the major regions of France, England, and the Holy Roman Empire.

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

As the rigidity of the Roman Catholic Church’s power, influence, and corruption reached a climax during the Romanesque period, humanity’s desire for a more pleasurable life began to increase. The Middle Ages brought about a transition that began to replace spiritual emphasis in life and highlighted intellectualism and religious skepticism. Though the church’s power was not necessarily undermined, it was certainly revolutionized and dampened. Examples of this humanistic transformation were represented through the union of Gothic and Scholastic ideals. Rather than simply scare the population into being religious and pious, the Gothic era welcomed the population- beginning with France, followed by the rest of Europe through the airy, dream-like, colorful, and uplifting beauty of the Gothic Cathedrals. This radical change would not have come about were it not for Aristotle’s nominalist philosophy during Antiquity, which pioneered the future revival of this somewhat liberal thinking.

October 9 is the celebration day of the feast of St. Denis and his companions, Rusticus the priest and Eleutherius the deacon, who were both martyred alongside and buried with him. Veneration of St. Denis and his companions began shortly after his death and added to the Roman calendar in 1568 by Pius V, even though it had already been celebrated regularly since about the year 800 AD. In traditional Catholic practice, Denis is invoked against diabolical possession and issues of head pain, the obvious allusion to his beheading. (St. Denis and Companions, 2012). In the Middle Ages many wore bright colors, some encrusted with jewels during the Feast of St. Denis, particularly in those cathedrals named after him. This was to signify the movement into a world of light and comfort based on suffering on earth (Levy, ed., p. 354).

This remarkable improvement in methods indicates the fresh importation of skills from the East and this applies not merely to England but to all Western Europe at that time (“The Flowering” 88). Into three main phases the development of architecture through the period may be divided. The elements of Gothic style and their gradual elaboration over a period of rather more than a century came first at the opening of the 12th century. After the year 1000 there was a fully coordinated Gothic art particularly marked by the invention of windows with baltracy, Jean d’ Orbais probably used it first at Rheims cathedral during the generation following 1211, why the east end was begun. A century followed with classic poise in which an international architecture reached its peak and produce perfect forms of castle and palace, cathedrals enriched with painting patterned tiles, figure sculpture and stained glass (“The Flowering” 92).

The Gothic style, dating between the 12th century and 16th century, began in France and eventually spread throughout the rest of Europe. An example of the first true Gothic church was St. Denis of Paris. Now, it is considered one of our finest artistic periods, but at the time, the term “gothic” did not exactly hold the same meaning it does today. The name came from the Goths and was used rather negatively when describing this style of architecture as they considered it to be similar to the works of the barbarians from which the name was derived.

This investigation will attempt to answer how architecture reflects the values of medieval society in the 11th century. The question is relevant because today archeologists all over the world have been able to identify the values of the people at that time, it also allows them to compare societies. The location that will be focused on will be Northern Europe. The issues that will be addressed are the importance of the buildings placement, the structural importance of the buildings and the societal values as a whole. This will be accomplished through a thorough examination of Medieval Cathedrals by William Clark and The Oxford Illustrated History of Medieval Europe by George Holmes.

In this study, I will examine Spanish Gothic architecture and the different influences on it through a comparison of the French inspire Leon and the Islamic Influenced Burgos. In my research, I will focus on their similarities and differences, both in history and design. Because there is limited research on these two cathedrals in particular, I will investigate scholarship on similar cathedrals to find scholarly approaches I may be able to apply to these case

Ambulatory Basilica of Saint Denis, 1140 -44, is the birth of Gothic, thanks to Suger. It’s the first abbot during the 12th century. It’s very important because it known as a burial place of the royal family. Suger wanted to create architectural style that would express the growing power of the monarch. His idea was to open up the space to allow light flood through. One of many ways is the choir, the space behind the altar of the church. The choir had lights pouring through the windows. Structure of the basilica was the expression of holy Jerusalem, heavenly on earth. A more heavenly and spiritual place. He compare the light to being divine, furthermore for visitors to contemplate it to God. His inspirations came from a philosopher during

The façade attaching to the existing Flamboyant Gothic church is a symmetrical, three-storey structure that has traditional three bays on first two levels and remains the central bay on the top level. The most proximate stylistic reference for this façade may be de l’Orme’s frontispiece of the Château of Anet. Instead of using unnecessary ornaments, the façade underlines the characteristics of classicism in balance, mass and clarity by creatively using classical architectural language. Three storeys are used to cover the Gothic church behind rather than the typical two-storey church façade. In this way, the classical dimension and proportion are maintained since the projecting Gothic aisles and buttresses make the whole visual composition much wider. Therefore the façade is increased in height to balance the horizontal dimension.