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Journal articles on the topic 'Gothic Cathedrals'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Jakubczyk, Radosław. "Gotyk wyobrażony. O francuskich katedrach w listach Stanisława Wyspiańskiego." Prace Literackie 56 (June 29, 2017): 113–25. http://dx.doi.org/10.19195/0079-4767.56.8.

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The imaginary Gothic. French cathedrals in Stanisław Wyspiański’s letters The article focuses on the role of imagination in Stanisław Wyspiański’s perception of the Gothic, which can be read out of his “French” letters to Lucjan Rydel, 19th-century poet and dramatist. During his journey to France in 1890, Wyspiański admires some Gothic cathedrals i.e. Chartres, Reims, Rouen, Amiens and personifies them metaphorically. The cathedral is a product of the imagination, she turns into amonumental theatrical stage, and its sculptures become dramatis personae of the play.

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Elizalde, Rubén Rodríguez. "Beauvais Cathedral: The Ambition, Collapse and Legacy of Gothic Engineering." Heritage 8, no. 6 (2025): 203. https://doi.org/10.3390/heritage8060203.

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The Cathedral of Beauvais remains one of the most enigmatic and ambitious architectural undertakings of the Gothic era. Conceived to surpass all other cathedrals in height and grandeur, it achieved unprecedented verticality but collapsed under the weight of its own aspirations. This article reexamines Beauvais as a case study in Gothic engineering—its structural daring, tragic failures, and enduring legacy—through a multidisciplinary approach combining historical research, technical analysis, and philosophical interpretation. Structured in accordance with standard academic conventions, the art

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Lavinia, D. T. "Flying Buttresses and the Artistic Expression of Vertical Ambition in Gothic Church Architecture." Art and Society 3, no. 4 (2024): 1–12. http://dx.doi.org/10.56397/as.2024.08.01.

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This paper explores the pivotal role of flying buttresses in Gothic church architecture, emphasizing their structural innovation and symbolic significance. Gothic architecture, emerging in the 12th century, is renowned for its verticality and light-filled spaces, which were made possible by the advent of flying buttresses. These external supports allowed for the construction of thinner walls and larger windows, leading to the iconic luminosity and height of Gothic cathedrals. Through Notre-Dame de Paris, Chartres Cathedral, and Reims Cathedral, this paper examines how flying buttresses facilit

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Coccia, Simona, Mario Como, and Fabio Di Carlo. "Wind strength of Gothic Cathedrals." Engineering Failure Analysis 55 (September 2015): 1–25. http://dx.doi.org/10.1016/j.engfailanal.2015.04.019.

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5

Khilat, Faiqa, Muhammad Yusuf Awan,, Sana Malik, and Beenish Mujahid. "DOCUMENTING THE ARCHITECTURAL CHARACTERISTICS OF THE CATHEDRAL CHURCH OF THE RESURRECTION, LAHORE." Journal of Research in Architecture and Planning 22 (June 30, 2017): 43–52. http://dx.doi.org/10.53700/jrap2212017_5.

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The Cathedral Church of the Resurrection is a spectacular, monumental structure having distinctive features of Gothic architecture located on Mall Road, Lahore. In the nineteenth century, British rulers developed this road as the foremost city centre after they established their government in the area. Other important buildings situated on this road are High Court, General Post Office, Town Hall, Montgomery Hall, Punjab University, Atchison College, churches and cathedrals. Among various structures, the enormity of this Cathedral reflects its glory, in cosmic green meadows. The artistic style

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Aspin, Philip. "‘Our Ancient Architecture’: Contesting Cathedrals in Late Georgian England." Architectural History 54 (2011): 213–32. http://dx.doi.org/10.1017/s0066622x00004056.

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Recent research has transformed our understanding of the late eighteenth and early nineteenth centuries as a phase in the wider process of the Gothic Revival. While historical writing on the Gothic Revival had previously tended to see the significance of the period between 1790 and 1820 largely in terms of its academic contribution to the later development of Victorian Gothic Revival architecture, emphasizing especially the role of antiquarian scholarship in providing a basis of archaeological accuracy upon which subsequent architects could draw, more diverse angles have been opened up within

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Stanford, Charlotte A. "Nicholas Orme, The History of England’s Cathedrals. Toronto: Pontifical Institute of Medieval Studies, 2017, 304 pp, color ill." Mediaevistik 31, no. 1 (2018): 299–301. http://dx.doi.org/10.3726/med012018_299.

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Cathedrals are buildings of cultural weight. They have frequently drawn attention from architectural historians, especially in the medieval era, as examples of Great Churches: leaders in artistic development or pioneers in engineering technology. When one thinks of Gothic buildings in <?page nr="300"?>particular, it is the cathedral that comes foremost to mind as example. Salisbury, Canterbury, York, and their fellows continue to draw both scholarly attention and popular attraction.

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Dominiczak, Marek H. "On Gothic Cathedrals and Contemporary Science." Clinical Chemistry 60, no. 3 (2014): 570–72. http://dx.doi.org/10.1373/clinchem.2013.218271.

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9

Rivin, M. M., and A. I. Toporov. "The Design Method of Gothic Cathedrals." Architectural Science Review 43, no. 1 (2000): 13–24. http://dx.doi.org/10.1080/00038628.2000.9696884.

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10

Nickson, Tom. "The Alfonso X’s patronage of Gothic architecture." Revista de Poética Medieval 35 (November 30, 2021): 197–224. http://dx.doi.org/10.37536/rpm.2021.35.35.88793.

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This article examines the architectural patronage of King Alfonso X and the notion of a ‘Court Style’ in thirteenth-century Gothic architecture. Following brief consideration of problems of evidence, I briefly sketch common characteristics of the architectural patronage of Alfonso’s royal rivals and allies across Europe and the Iberian Peninsula. This prompts reassessment of the king’s relationships with mendicant and Cistercian orders, and then detailed consideration of his financial contributions to the cathedrals of Toledo, Burgos and León. Although royal heraldry and imagery is prominent i

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Colleoni, Paola. "A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97." Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.

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ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived a

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Даудова, Ф. Х. "SECRETS OF MEDIEVAL CATHEDRALS." Вестник ГГНТУ. Технические науки, no. 2(20) (June 29, 2020): 53–60. http://dx.doi.org/10.34708/gstou.2020.60.51.004.

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Готические соборы Европы - творения средневековых зодчих, которые хранят давние тайны. Как с помощью примитивных инструментов их построили такими высокими? Какими принципами руководствовались их строители? Могут ли современные технологии раскрыть все то, благодаря чему эти колоссы до сих пор не обрушились? The Gothic cathedrals of Europe are the creations of medieval architects who keep ancient secrets. How did they build them so high with primitive tools? What principles guided their builders? Can modern technology reveal all the things that have kept these colossi from collapsing?

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Krpič, Tomaž. "Believing and seeing: The art of Gothic cathedrals." Visual Studies 26, no. 1 (2011): 80–81. http://dx.doi.org/10.1080/1472586x.2010.502702.

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14

Samper, Albert, and Blas Herrera. "The Fractal Pattern of the French Gothic Cathedrals." Nexus Network Journal 16, no. 2 (2014): 251–71. http://dx.doi.org/10.1007/s00004-014-0187-7.

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15

Abad-Zapatero, Cele. "Notes of a protein crystallographer: the beauty of rose windows and the different meanings of symmetry." Acta Crystallographica Section D Biological Crystallography 70, no. 3 (2014): 907–11. http://dx.doi.org/10.1107/s1399004713032859.

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The magnificent rose windows of the Gothic cathedrals provide artistic illustrations of many of the planar point groups of symmetry. It is suggested that the presence of certain symmetry elements and their selection by the artists could have been motivated to convey specific meaning to the resulting compositions.

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Stefański, Krzysztof. "Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”." Porta Aurea, no. 19 (December 22, 2020): 294–310. http://dx.doi.org/10.26881/porta.2020.19.15.

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The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciec

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17

Carolina, Sparavigna Amelia. "The Solar Orientation of the Gothic Cathedrals of France." International Journal of Sciences Volume 3, no. 2014-04 (2014): 6–11. https://doi.org/10.5281/zenodo.3348695.

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The orientation of the Gothic cathedrals of France can be easily discussed and investigated using the satellite maps. Except a few of them, these buildings have the apse facing the rising sun, according to a practice adopted during the medieval period.Read Complete Article at ijSciences: V3201403484 AND DOI: http://dx.doi.org/10.18483/ijSci.484

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Carolina Sparavigna, Amelia. "The Solar Orientation of the Gothic Cathedrals of France." International Journal of Sciences, no. 04 (2014): 6–11. http://dx.doi.org/10.18483/ijsci.484.

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Abad-Zapatero, Cele. "The Rose Windows of Gothic Cathedrals: Art, Symmetry and Beyond." Acta Crystallographica Section A Foundations and Advances 70, a1 (2014): C1424. http://dx.doi.org/10.1107/s2053273314085751.

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The magnificent rose windows of the Gothic cathedrals have been the object of wonder and fascination to architects, artists and human beings alike, since they were used to emphasize the splendor of Gothic architecture, its lightness of forms and luminosity of interiors. There is considerable amount of literature on the theme including studies on the stone tracery and the stained glass, and a website created by a prominent author in the field (www.therosewindow.com, [1]) is an excellent resource. A brief reference in the classic book Symmetry by H. Weyl [2] suggested that rose windows were inde

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Vondráčková, Terezie, Vladimír Nývlt, and František Němec. "Characteristics of Gothic Cathedrals in France and their Structural Elements." Procedia Engineering 161 (2016): 1751–56. http://dx.doi.org/10.1016/j.proeng.2016.08.771.

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21

Block, Elaine C. "Italian Influence on French Gothic Choir Stalls." Reinardus / Yearbook of the International Reynard Society 12 (September 15, 1999): 19–34. http://dx.doi.org/10.1075/rein.12.03blo.

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Abstract French gothic choir stalls flourished during the fifteenth century. Hundreds of sets were commissioned for cathedrals, collegiate churches and private chapels of the nobility. The stalls were adorned with carvings on dorsal panels, jouées (end panels), arm-rests and misericords. Motifs included inventive monsters and realistic narratives. The miniature figures wore contemporary clothing and performed ordinary tasks to illustrate tales, proverbs and daily life. In the sixteenth century the Italian Renaissance slowly made its way through France leaving a magnificent mingling of Gothic a

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22

Santiago Pedraza, Víctor Manuel. "Façades of gothic Mediterranean cathedrals and fortifications. Constructive racionality facing earthquake." Revista de la construcción 16, no. 2 (2017): 202–14. http://dx.doi.org/10.7764/rdlc.16.2.202.

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23

Kušar, Domen. "Rose Windows in Gothic Cathedrals: A Compositional Challenge for Church Builders." Igra ustvarjalnosti - Creativy Game 2021, no. 9 (2021): 58–64. http://dx.doi.org/10.15292/iu-cg.2021.09.058-064.

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Rose windows are of special significance in gothic cathedrals. These are large circular windows. They are also exquisite works of masonry. In terms of their construction, the sectioning of the circle into smaller, equal segments presented a particular challenge. The division of a circle into equal segments or the ratio between the diameter and the circumference was an old mathematical problem, which had practical consequences for architects and masons. Their answers ranged from simple to more complex solutions. Analysis has shown that the segmentation of rosettes was simpler in the early perio

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24

Marian, Kowalski. "Die Architektur der Summa theologiae des Thomas von Aquin." Rocznik Tomistyczny 8 (2019) (December 31, 2019): 87–102. https://doi.org/10.5281/zenodo.3936100.

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This paper briefly shows how <em>Summa Theologiae </em>is composed. One may notice that the structure of Summa results from the careful precise consideration and it perfectly embodies the Scholastic mode for assesing arguments. The remarkable achievement of Aquinas is to demonstrate through his structure of thinking the intelligent reasonable structure of the universe. Universal idea, reason understood as a principle for a methodological inquiry, is the overall rule both for intellectual and aesthetic work. Its expression we find in Medieval architecture, especially Gothic cathedrals.

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25

Tallon, Andrew. "An Architecture of Perfection." Journal of the Society of Architectural Historians 72, no. 4 (2013): 530–54. http://dx.doi.org/10.1525/jsah.2013.72.4.530.

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Noted art historian William H. Goodyear (1846–1923) spent the better part of his career documenting what he called the “widening refinement,” the intentionally out-of-plumb construction of Gothic churches. Builders, he believed, inclined their walls in service of a sophisticated art of irregularity designed to grant vitality to their edifices. Yet such a practice was antithetical to the motives of the Gothic masters, for whom these deformations due to vault thrusts were unwelcome—for whom wall plumb was an imperative not only of constructional but also of theological order. In An Architecture

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Ahmed, Mahtab Uddin. "Rosettes and Pseudorosettes and Their Significance." Journal of Enam Medical College 7, no. 2 (2017): 101–6. http://dx.doi.org/10.3329/jemc.v7i2.32656.

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Rosettes are round assemblage of cells found in tumors. They usually consist of cells in a spoke circle, a halo collection surrounding a central or a cellular lumen. Rosettes are so named for their similarity to the rose casement found in gothic cathedrals. There are clusters of different kinds of rosettes in pathology, each with different kind of cells and dissimilar names. Most of them are found in tumors of the nervous system. The detection of rosettes help in diagnosis of different tumors.J Enam Med Col 2017; 7(2): 101-106

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Hurx, Merlijn. "Gothic Locks: Pioneering Drawings for Hydraulic Works in 16th-Century Holland." Arts 13, no. 5 (2024): 151. http://dx.doi.org/10.3390/arts13050151.

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Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the view of a homogeneous Gothic design practice based on quadrature. Historians generally accept that in the 16th century a new Renaissance graphic language challenged and ultimately replaced the Gothic tradition north of the Alps. However, this antagonistic narrative of one dominant practice

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Wetzel, Julia. "Astronomical Clocks and the Evolution of Ancient Cosmology in Gothic Architecture." Selected Proceedings of the Classics Graduate Student Symposia at the University of Florida 2 (March 25, 2023): 90–115. http://dx.doi.org/10.32473/pcgss.2.132931.

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This paper offers a review of the location and imagery of astronomical clocks. The zodiacs are highlighted as religious symbols taken from antiquity and transferred into the Middle Ages. The clocks contain imagery similar to other religious spaces such as cathedrals and Books of Hours, which imbues them with meaning while linking them to sacred spaces. The ancient lares created a sacred space outside temples. A comparison of them to the astronomical clocks suggests that the clocks also create a sacred space based on location and iconography. This paper will argue that astronomical clocks exten

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Arutyunyan, Yuliya Ivanovna. "Images of Gothic architecture in the graphics of Auguste Rodin." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 136–41. http://dx.doi.org/10.30725/2619-0303-2022-4-136-141.

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The graphic heritage of Auguste Rodin has been studied unevenly, his sketches and sketches of a nude model are devoted to an extensive body of research, while the architectural drawings of the sculptor are not fully covered in modern research literature. For O. Rodin, the Gothic temples of France became an occasion for discussions about the culture and history of the country, about man, harmony and the role of creative energy in the world, these are very individual experiences superimposed on the artistic understanding of the medieval style. The scattered remarks of the famous expert made up a

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Rodin, Krista. "Reaching to Heaven: Similarities between Early French Gothic Cathedrals and Medieval Bagan Temples." International Journal of Arts Theory and History 11, no. 2 (2016): 23–27. http://dx.doi.org/10.18848/2326-9952/cgp/v11i02/23-27.

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Medina, Juan Manuel, Antonio Rodríguez Sánchez, María Josefa Cassinello, and Eduardo Medina Sánchez. "Factors defining Gothic lighting. Relationship between volume, structure and luminous result in Spanish cathedrals." Revista de la construcción 16, no. 1 (2017): 9–21. http://dx.doi.org/10.7764/rdlc.16.1.9.

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32

Turnbull, David. "The Ad Hoc Collective Work of Building Gothic Cathedrals with Templates, String, and Geometry." Science, Technology, & Human Values 18, no. 3 (1993): 315–40. http://dx.doi.org/10.1177/016224399301800304.

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33

Krawczenko, Jaroslaw. "Паризька школа неовізантизму Михайла Бойчука у творчості Софії Бодуен де Куртене (до 130- ліття від дня народження)". Studia Ucrainica Varsoviensia 6 (20 квітня 2018): 367–71. http://dx.doi.org/10.5604/01.3001.0011.7989.

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The article considers art of Sofi a Baudouin de Courtenay, Mykhailo Boychuk’s student during his Parisian period. Over the years of her life in art she decorated with frescoes and stained glass more than 24 cathedrals and churches all around Poland ”from Yaroslav to Western borders”. Reff ering to Bizantine artistic tradition and using theoretical and methodical principles of early Boychuk’s school, she worked at the same time with modern expressive plastic forms and brought to new life sophisticated colorism of Old-Polish Gothic. Nevertheless, authentic and self-suffi cient artistic approach,

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Karimov, Nodir, Maman Sarybaev, Aynazar Kaipnazarov, Nematjan Djumageldiev, Rustem Reymbaev, and Fariza Kholdarova. "HISTORICAL DEVELOPMENT OF CONSTRUCTION TECHNIQUES: FROM ANCIENT ARCHITECTURE TO MODERN ENGINEERING." Archives for Technical Sciences 31, no. 2 (2024): 36–48. http://dx.doi.org/10.70102/afts.2024.1631.036.

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The history of architecture has been molded with the development in modes of construction, reflecting the social, economic, and technological advancement of different civilizations. This paper discusses the chronological development of the various methods of construction from ancient architecture to modern engineering and cites some key milestones shaping today's construction processes. The study embraces developments throughout four major periods: early developments during the era of 'Masters of Structuring Matter', geometric and structural novelties developed during Gothic and then during th

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Demchenko, Aleksandr Ivanovich. "The edges of humanism of the Renaissance in the mid-13th – the mid-16th century: Part 1." Pan-Art 4, no. 2 (2024): 75–84. http://dx.doi.org/10.30853/pa20240011.

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The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The autho

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MIHĂEŞ, Lorena-Clara. "I was hungered and ye gave me meat: In search of the Ultimate Eating Experience in Kazuo Ishiguro’s The Gourmet." Cultural Intertexts, no. 14 (May 6, 2025): 76–85. https://doi.org/10.35219/cultural-intertexts.2024.14.06.

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This article reads Ishiguro’s early screenplay The Gourmet (1986) as a work of comic Gothic, blending archetypal Gothic elements (ghosts, cathedrals, crimes) and a dark, eerie, and supernatural atmosphere with elements of comedy and satire. The main character’s quest for the most unusual food on earth, or rather unearthly, serves as a mere pretext to depict a post Thatcherite London, where homelessness and hunger were at every corner of the street. The screenplay explores two types of hunger: the literal starvation of the poor who have nothing to eat and depend on night shelters for survival,

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Akande, Adeyemi. "The iconography of Saint Denis in early French Gothic architecture." Journal of Art and Architecture Studies 11 (June 15, 2022): 1–7. http://dx.doi.org/10.54203/jaas.2022.1.

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Of the many sculptures on the facades of cathedrals and churches all over France, the curious Head-carriers, also known as Cephalophores, are arguably some of the most thought-provoking sculptural pieces one will come across. This study is concerned mainly with the iconography of St Denis, the first Bishop of France, as articulated on the portals of the Basilica of St-Denis. The events that followed immediately after Denis’ martyrdom by decapitation is mostly regarded as mere fable. Consequently, the symbolic meaning of the unusual movement has evaded scholarship. This work will discuss the sy

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Adamski, Jakub. "Strasburg – Wrocław – Kraków. O transferze górnoreńskiego stylu architektury sakralnej na Śląsk i do Małopolski w pierwszej połowie XIV w." Quart, no. 4(70) (January 23, 2024): 3–35. http://dx.doi.org/10.19195/quart.2023.4.101688.

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The turn of the 14th c. was a special moment in the history of Gothic architecture. It was during this time that the Upper Rhine region quickly gained artistic importance and became the most advanced architectural centre in Europe. The main focus of the article is to show how new trends in architectural design became apparent in two regions of southern Poland, Silesia and Lesser Poland, as early as around 1280. Monastic churches at Lubiaz and Kamieniec as well as the cathedrals and parish churches of Wroclaw and Cracow exemplify the impact of Upper Rhine models on the stylistic development of

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Постернак, І. М., С. О. Постернак, and О. C. Постернак. "ORGANIZATION OF BUILDING PRODUCTION CORPORATIONS OF GOTHIC ARCHITECTURE AS THE ORIGIN OF " CSTC T-PPR "." Building production, no. 73 (May 22, 2023): 46. http://dx.doi.org/10.36750/2524-2555.73.46-51.

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The modern world market is a complex system of interactions between commodity producers, financial and credit, exchange and state institutions, the basis of which is the phenomenon called the large joint-stock corporation. The principle of corporations is the principle of contemporary urban communities: their members, paying taxes to the king or lord, form an association that can protect their common interest. The period of the most intensive formation of corporations (associations) in architectural and construction production is considered – the period of Gothic architecture (individual eleme

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Patała, Agnieszka. "Left / abandoned / post-German. Late Gothic Silesian Retables and Their New Settings in the Monastery Church in Mogiła (Cracow), and the Cathedrals in Warsaw and Poznań in the 1940s and 1950s." Ikonotheka, no. 31 (September 20, 2022): 49–81. http://dx.doi.org/10.31338/2657-6015ik.31.3.

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Based on three case studies, the text presents the analysis of the process of the reappropriation of three selected “left”/”abandoned”/”post-German” medieval artworks in the three important conservation projects from the first decade of the post-war reconstruction of Poland (1945–1955). The circumstances, course and consequences of mounting late gothic Silesian altarpieces in the presbyteries of the monastery church in Mogiła and in the rebuilt and restored cathedrals in Warsaw and Poznań will be traced. This will enhance the analysis of the process of post-war creation of three monuments of P

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KATO, Koichi. "A STUDY ON THE ACTUAL RELATIONSHIP BETWEEN LOUlS VII AND THE CONSTRUCTIONS OF THE EARLY GOTHIC CATHEDRALS." Journal of Architecture and Planning (Transactions of AIJ) 67, no. 554 (2002): 337–42. http://dx.doi.org/10.3130/aija.67.337.

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Vannucci, P., F. Masi, and I. Stefanou. "A nonlinear approach to the wind strength of Gothic Cathedrals: The case of Notre Dame of Paris." Engineering Structures 183 (March 2019): 860–73. http://dx.doi.org/10.1016/j.engstruct.2019.01.030.

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43

L'Héritier, Maxime, Adrien Arles, Alexandre Disser, and Bernard Gratuze. "Lead it be! Identifying the construction phases of gothic cathedrals using lead analysis by LA-ICP-MS." Journal of Archaeological Science: Reports 6 (April 2016): 252–65. http://dx.doi.org/10.1016/j.jasrep.2016.02.017.

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Walters, Anne. "The reconstruction of the abbey church at St-Denis (1231–81): the interplay of music and ceremony with architecture and politics." Early Music History 5 (October 1985): 187–238. http://dx.doi.org/10.1017/s026112790000070x.

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During the Middle Ages, the construction or renovation of a great church was a vast undertaking in terms of time and of money. An array of cathedrals that still rise above the cities and towns of northern France bears witness to medieval ingenuity and industry. The first structure which embodies many of the elements that are now called Gothic was begun at St-Denis in 1140. The church as we know it, however, was not entirely the work of the twelfth century. Only much later, between 1231 and 1281, was St-Denis finally completed. Substantial evidence of the thirteenth-century rebuilding is found

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Colomban, Philippe. "Le vitrail au creuset de la chimie, des arts du feu, de l’esthétique et de la religion." Actualité Chimique 504 (May 2025): 5–14. https://doi.org/10.63133/scf.act-chim.2025.504.01.

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(Text in French) The stained-glass window in the crucible of chemistry, arts of fire, aesthetics, and religion During the construction of medieval cathedrals, the cost of the stained-glass windows was comparable to that of the building. Stained-glass windows are certainly the most significant glass production in the medieval West. Aesthetics evolve with the developments in the Fire Arts, the constraints of access to certain raw materials and the political and theological issues of Protestantism and the Counter-Reformation to wither away in the 18th century with a loss of technical knowledge. T

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Lewis, Suzanne. "Henry III and the Gothic Rebuilding of Westminster Abbey: The Problematics of Context." Traditio 50 (1995): 129–72. http://dx.doi.org/10.1017/s0362152900013209.

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Henry III's role in the creation of a new and powerful visual culture in thirteenth-century England remains uncontested, as does the dominant position of Westminster Abbey as its architectural centerpiece. Rivaling the soaring magnificence of the most splendid cathedrals, the thirteenth-century rebuilding of the Benedictine abbey church provided a dramatic setting for the anointing and coronation of English kings as well as for the new shrine of St. Edward the Confessor (see figs. 1 and 2). The Gothic rebuilding of Westminster Abbey is usually thought to have been financed entirely by a single

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Weber, Antoine, and Brian F. G. Katz. "Sound Scattering by Gothic Piers and Columns of the Cathédrale Notre-Dame de Paris." Acoustics 4, no. 3 (2022): 679–703. http://dx.doi.org/10.3390/acoustics4030041.

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Although the acoustics of Gothic cathedrals are of interest to researchers, the acoustic impact of their many columns is often neglected. The construction of the Cathédrale Notre-Dame de Paris spanned several centuries, including a wide variety of architectonic elements. This study investigates the sound scattering of a selection of seven designs that are relevant to this building as well as to the architectural style itself. These were measured on scale models (1:8.5 to 1:12), using a subtraction method, for receivers at about 3 m at full scale and a far-field source. They were also numerical

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Bakus, Grigoriy. "Gothic Сathedrals in the Fire of the World War: Monuments of Medieval Architecture in the Visual Historical Evidence of the 20th Century". ISTORIYA 14, № 7 (129) (2023): 0. http://dx.doi.org/10.18254/s207987840026931-3.

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“Rotterdam durch deutsche bomben vernichtet” — this inscription in German Language was written on snapshot with most prominent Gothic-styled Church of the city. The nearest area was destroyed completely and only ruins there were everywhere. Today this card, an amateur photo, is a piece of historical evidence both in the fields of longue durée terms of existence for medieval monuments in traditional cityscapes and local societies, which had living there. During the periods of the First and the Second World Wars were made the arrays of images of the same sort with monuments of medieval culture —

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Vežić, Pavuša. "Ikonografija romaničke katedrale u Dubrovniku." Ars Adriatica, no. 4 (January 1, 2014): 63. http://dx.doi.org/10.15291/ars.489.

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In order to deepen our contemporary knowledge about the Romanesque cathedral of Dubrovnik, it is of utmost importance to turn to the archaeological remains and the documented material evidence in order to establish its ground plan. On the basis of the ground plan and in combination with the way the Cathedral was depicted in the art works produced during the period from the fifteenth to the seventeenth century, while also taking into account the contemporary written sources, we can propose a reconstruction of the Romanesque Cathedral together with a number of architectural features which have n

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Leroy, Stéphanie, Maxime L'Héritier, Emmanuelle Delqué-Kolic, Jean-Pascal Dumoulin, Christophe Moreau, and Philippe Dillmann. "Consolidation or initial design? Radiocarbon dating of ancient iron alloys sheds light on the reinforcements of French Gothic Cathedrals." Journal of Archaeological Science 53 (January 2015): 190–201. http://dx.doi.org/10.1016/j.jas.2014.10.016.

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