By Whitney S. Stoddard
This is often an English-language learn at the structure and paintings of medieval France of the Romanesque and Gothic sessions, nearly a thousand - 1500. as well as essays on person monuments there are basic discussions of given sessions and particular difficulties reminiscent of: why did Gothic come into being? Whitney Stoddard explores the interrelationship among all types of medieval ecclesiastical artwork and characterization of the Gothic cathedral, which he believes to have a nearly metaphysical foundation.
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Additional resources for Art and Architecture in Medieval France: Medieval Architecture, Sculpture, Stained Glass, Manuscripts, the Art of the Church Treasuries (Icon Editions No 22)
A further tortuous walk reveals the entire monastic complex nestled into the live rock and, at the same time, extending out over die gorge on a terrace supported by man-made buttresses. T h e dramatic mountainscape forms a magnificent frame for the irregularly placed buildings. In spite of damage from an earthquake in 1428 and extensive restoration in the early nineteenth century following its abandonment after the French Revolution, Saint-Martin-du-Canigou still epitomizes the ingenuity of Romanesque builders.
T h e nave vessel is divided into compartments of space by the piers and by the pier extensions which rise u p through the gallery and over the vaults. Progress, bodr visual and physical, down the nave to the high altar, becomes a unified, pulsating experience. A T is THE CHURCH which is the key to the nature of Romanesque architecture. T o the monastic church came the pilgrims to join the choir of monks in the liturgy of praise. Born to monastic life through the second baptism of their profession, the monks gathered in the church to dedicate their lives in Christ.
The western towers were not constructed until after 1200. A comparison of the plans of Paray-le-Monial and Cluny III (figs. 42, 45) reveals the similarities of design, despite the marked difference in size. Cluny is 609 feet long (exterior measurement) with vaults 97 feet above the pavement, while Paray-le-Monial is only 206 feet long with vaults 71 feet in height. The entire church of Paray-leMonial is a replica on a smaller scale of the chevet and eastern transept of Cluny. Both churches have aisleless transepts and ambulatories which are narrower than the square bays flanking the choir.
Art and Architecture in Medieval France: Medieval Architecture, Sculpture, Stained Glass, Manuscripts, the Art of the Church Treasuries (Icon Editions No 22) by Whitney S. Stoddard