Добірка наукової літератури з теми "Rayonnant Gothic"

AbstractBy combining carbon-14 dating of mortar, rereading known written sources and both archaeological and formal analysis, the construction history of the Gothic church of Our Lady in Tongeren can be thoroughly revised. Numerous similarities with religious architecture in Lorraine, the Rhineland, and the Meuse valley reveal the architectural historical significance of Our Lady’s church on the western fringe of the Holy Roman Empire. Inside the church, differences in design are related to the separate spaces used by canons, parishioners, brotherhoods, and the urban commune of Tongeren. The elaborate Rayonnant Gothic architecture of the eastern part of the church bears witness to the prestige associated with the church’s chapter, which claimed an episcopal past.

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 in all three cathedrals, I argue that Alfonso probably did not play a significant role in promoting rayonnant architecture in his kingdom. The most distinctive feature of his patronage lies in his support for work on the converted mosque-cathedrals of Seville and especially Córdoba. Finally, I consider a number of projects associated with Alfonso in Seville, notably the Gothic palace in the Alcázar.

Within the stylistic development of English Gothic architecture of the late thirteenth century, the nave of York Minster stands quite apart for its clear continental orientation. Only the great western window and the high vault-both inserted after the structural completion of the nave-conform to the standards of the Decorated Style that dominated English ecclesiastical buildings around 1300. The architecture of the nave itself has generally been regarded as an offspring of the French Rayonnant Gothic, although no specific building could be positively identified as its source; comparisons have dealt exclusively with individual architectural features instead of the system as a whole. Cologne Cathedral, however, never hitherto considered a possible source of influence for York Minster's nave, resembles the English church more than any French cathedral and accordingly must be taken as its main and perhaps only source of inspiration. This German orientation of York, unusual as it is in the history of English architecture, has its parallel in some rather close historical connections between the English court and the German emperor and, notably, his archchancellors, the archbishops of Cologne.

<p>Resumen: Este estudio presenta un meticuloso análisis de la iglesia de Santa Maria de Castelló d’Empúries, sin duda uno de los edificios más originales y portentosos del primer gótico en Cataluña. Explicitando los objetivos, metodologías e hipótesis de trabajo, se disecciona su proceso constructivo, particularmente su primera fase, argumentando los fundamentos de una nueva interpretación, de modo que se superan hipótesis precedentes. Atendiendo a evidencias que han pasado desapercibidas, se propone una acotación cronológica para esta fase del edificio ca. 1261–1290. Del mismo modo, se identifican los referentes arquitectónicos de la fábrica de Castelló d’Empúries, que explicitan el currículum formativo del maestro responsable del primer proyecto constructivo, que hay que identificar con Reinald de Chartres. Los perfiles de esta personalidad artística son reconocibles a partir de la comprensión de los detalles más elocuentes y fundamentales de la fábrica. Se establece una perspectiva internacional, desde el gótico rayonnant de mediados del siglo XIII, para la iglesia de Santa Maria, deslindable del resto de la producción arquitectónica catalana del siglo XIII y primera mitad del XIV.</p><p> </p><p>Abstract: This study offers a detailed analysis of the church of Santa Maria de Castelló d’Empúries, undoubtedly one of the most original and portentous early Gothic buildings in Catalonia. The main objective of this text is to dissect the construction process of Santa Maria, especially its first phase, according to a methodology that focuses on the material analysis and documentary understanding of the church. Taking into account unnoticed particulars, it argues for a new interpretation that goes beyond previous hypotheses. Through material evidences, this study proposes a chronological estimation of the first project of the building to around 1261–1290, as well as its architectural references. These make explicit the architectural curriculum of the master responsible for the first construction project, who is to be identified as Reinald de Chartres. His artistic personality and technical skills are recognizable from the most eloquent and fundamental facts of the construction. The chronology and authorship of the building represent a significant change in perspective. From the Gothic style of the mid-13th century, an international perspective is established for the church of Santa Maria, which is distinguished from the rest of the architectural production in Catalonia during the 13th century and the first half of the 14th century.</p>

L’église Saint-Michel de Bordeaux est construite à la fin du Moyen Âge au centre d’une paroisse urbaine très dynamique. L’activité portuaire et commerciale fait vivre de nombreux artisans et enrichit les puissants marchands du quartier de la Rousselle. Ils sont investis dans le gouvernement de la commune et financent copieusement le chantier de leur église paroissiale. Leurs pratiques pieuses et leur activité à la tête de l’administration de la fabrique et des confréries sont représentatives de la religion civique à la fin du Moyen Âge. L’église accueille depuis la fin du XVe siècle un collège de prêtres-bénéficiers, au service des nombreuses fondations pieuses et des confréries installées dans les chapelles latérales. Elles sont construites durant le second chantier gothique, qui met en œuvre à partir du second quart du XVe siècle une vaste église flamboyante de plan basilical. Celle-ci succède à une première église gothique menée à son terme durant le XIVe siècle selon un parti-pris architectural de type « halle ». Le chantier de la cathédrale, qui introduit à Bordeaux les formes du gothique rayonnant du Nord de la France, est une source d’inspiration à Saint-Michel, dans le domaine de la modénature et de la sculpture monumentale. Le chantier flamboyant voit l’arrivée de maîtres-maçons dont l’œuvre a pu être identifiée. Elle se réfère aux chantiers normands, parisiens ou financés par le roi de France. Les Lebas de Saintes apportent leur culture artistique et leur technique à l’accomplissement du transept, à la conception de la nef et du clocher isolé. La faible influence de l’œuvre de Saint-Michel sur la création artistique locale est compensée par le rayonnement de son clocher-tour, un des plus hauts clochers du royaume. Son chantier exceptionnel est très bien renseigné par 11 années de comptes de la fabrique. Ils illustrent les conditions de travail et l’équipement nécessaire à la construction à grande hauteur. Un des autres chefs-d’œuvre de l’église, le portail nord, est probablement réalisé vers 1520 par Imbert Boachon, maître-maçon, imagier, menuisier, selon la nature des travaux et selon les villes ou il travaille. Aujourd’hui, la silhouette de l’église et du clocher, tous deux isolés au milieu de plusieurs places, ne reflète plus totalement la morphologie de l’œuvre médiévale. Des faiblesses structurelles obligent les hommes du XIXe siècle à reconstruire le chevet. Le clocher est rénové par Paul Abadie et l’église reçoit une esthétique gothique influencée par l’archéologie monumentale et les doctrines de la restauration patrimoniale de l’époque
The church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period

Considérée à juste titre comme un édifice majeur de l’architecture gothique, la cathédrale d’Amiens a fait l’objet de nombreuses études qui se sont essentiellement consacrées à la construction du gros œuvre entre 1220 et 1288. Pourtant, après cette date et jusqu’à la fin du Moyen Âge, l’édifice a été le théâtre de travaux ambitieux comprenant notamment l’adjonction d’une série de chapelles entre les contreforts de la nef entre 1290 et 1380. Bien que leur construction se soit étendue sur près de cent ans, ces chapelles présentent une grande homogénéité d’ensemble, dont la mise en œuvre progressive est uniquement trahie par la diversité du réseau des baies, conforme à l’évolution du goût au cours du XIVe siècle. Œuvres de commanditaires divers, laïcs comme religieux, elles forment un ensemble essentiel à la connaissance de l’architecture et de la sculpture monumentale du gothique rayonnant en France et dans l’Europe du nord où le modèle de la cathédrale d’Amiens a durablement rayonné. Cet ensemble reste pourtant très mal connu et rarement pris en compte dans les essais sur le gothique tardif. Son étude doit donc être replacée dans le contexte plus général des adaptations de la cathédrale d’Amiens aux nouveaux enjeux artistiques et dans celui des transformations souvent apportées, à la fin du Moyen Âge en Europe du nord, aux grands édifices religieux préexistants. Cette enquête s’est appuyée sur la maquette numérique en trois dimensions de la cathédrale d'Amiens réalisée dans le cadre du programme E-Cathédr@le. L’application des technologies de pointe à la connaissance du passé de la cathédrale d’Amiens permet ainsi de renouveler des problématiques de recherche dans plusieurs champs de l’histoire de l’architecture médiévale
Considered as a major building of French Gothic architecture, the Amiens cathedral has been the subject of several studies, especially about the works of the XIIIth century. However, after this period, the cathedral was the theatre of an ambitious project: the building of the lateral chapels on the nave between 1290 and 1380. Despite the long period of construction, those chapels are characterised by their architectural homogeneity. The different stages of building are only betrayed by the traceries of the windows which are conformed to the aesthetic of the XIVth century. Commissioned by several patrons, lays and religious, they form a rich source for the knowledge of the architecture and sculpture of the rayonnant Gothic in France and in northern Europe. Yet, the lateral chapels of Amiens stay unknown and are rarely mentioned in essays about the Late Gothic architecture. Therefore, this study must be considered in the both general context of the Amiens cathedral’s adaptation to new artistic considerations and of the transformation’s movement of several great gothic churches by the addition of lateral chapels at the end of the Middle Age in northern Europe. This thesis relied on the 3D digital model of the Amiens cathedral developed in the E-Cathédr@le program. Extracts from the 3D model made it possible to draw up reliable graphic documentation of the chapels. In this way, the digitalization of the cathedral has allowed the development of new research subjects in the field of the history of medieval architecture (knowledge of architectural techniques and its decoration, understanding of the enlarging process of a monument to adapt it to new uses, thoughts on reusing materials, the process of fossilization of traces of the primitive building, etc)