The Auxerre Cathedral Chevet and Burgundian Gothic Architecture

1988 ◽  
Vol 47 (1) ◽  
pp. 45-56 ◽  
Author(s):  
Harry B. Titus,
Keyword(s):  
Shell Structure ◽  
13Th Century ◽  
Architectural Style ◽  
Gothic Architecture ◽  
14Th Century ◽  
Chartres Cathedral ◽  
Hybrid Nature ◽  
The Impact

The Auxerre Cathedral chevet plays an important role in the concept of a "Burgundian Gothic" architectural style. Despite its importance as the first monument in Burgundy in which the impact of High Gothic Chartres Cathedral is evident, it has been interpreted as resistant to Chartres because of its "diaphanous" double-shell structure. However, when its hybrid nature is understood as the result of a series of dynamic, overlapping designs, it appears that the Auxerre builders progressively modified their elevation to reflect the new architecture at Chartres, while retaining the double-shell structure. The result proved to be aesthetically successful, but structurally compromised, especially in the buttressing of the high vaults, which had to be consolidated in the 14th century. Because it is a large, completed component of an episcopal complex, the Auxerre chevet has been considered to be the formative monument of a Burgundian Gothic style. Many of its features have been traced to "progressive" northern French centers, thereby emphasizing its "provincial" position. If its early sources are identified at Lausanne Cathedral and Nôtre-Dame in Dijon, the Auxerre chevet can be seen as a more distinctive synthesis of 13th-century architectural currents and as part of a complex and diverse development of Gothic architecture in Burgundy.

scholarly journals Sveti Frane u Zadru - arhitektura crkve i samostana u doba gotike i renesanse

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 17-46
Author(s):  
Pavuša Vežić
Keyword(s):  
Original Form ◽  
13Th Century ◽  
Historical Sources ◽  
Gothic Architecture ◽  
14Th Century ◽  
Architectural Elements ◽  
15Th Century ◽  
General Chapter ◽  
The Church

The author discusses the architecture of the church and the monastery of St Francis in Zadar in their original form, and their transformation during the Gothic and Renaissance periods. Based on an analysis of published historical sources and the preserved architectural elements, it has been concluded that the extant structure of the complex emerged between the mid-13th and the early 14th century, when the church and the sacristy were built, as well as the monastery wings and the original cloister. An important typological feature of the church is its three-apse rear structure, which the author brings into connection with the Gothic architecture of Franciscans and Dominicans from Umbria and Veneto during the 13th century. The sacristy, in which the Peace of Zadar was signed in 1358, was also a chapel of St Louis and the chapter hall. Its significant rearrangement, with the furnishing of the choir and the sanctuary, took place at the end of the 14th century, when the General Chapter in Cologne proclaimed the monastery the seat of the Franciscan province of St Jerome for Dalmatia in 1393. The choir rebuilding was completed by the mid-15th century with the construction of Giorgio da Sebenico’s podium on the site of the presumed earlier railing.

scholarly journals The anthologion Athos Lavra E-108: A Greek-Slavonic liturgical manuscript

Muzikologija ◽  
2011 ◽  
pp. 25-38
Author(s):  
Gerda Wolfram
Keyword(s):  
Great Change ◽  
Greek Text ◽  
13Th Century ◽  
14Th Century ◽  
Sphere Of Influence

The codex Athos Lavra E-108 is a musical liturgical manuscript from the end of the 14th century. The change of the liturgical rite in the course of the 13th century was an important impulse for the development of the kalophonic style of Byzantine music. All genres of chant underwent a great change. Lavra E-108 contains both chants with Greek text and with Slavonic text. Various scribes contributed to this manuscript. It seems that the codex was used in a Greek-Slavonic congregation, in a Greek sphere of influence.

scholarly journals Stepmother and stepson: Duchess Matilda in the power struggle after the death of her husband Barnim I, the Duke of Pomerania

2019 ◽  
pp. 83-99
Author(s):  
Mariola Freza‑Olczyk
Keyword(s):  
Complex Problem ◽  
General Information ◽  
Personal Life ◽  
The Political ◽  
Diplomatic Relations ◽  
Power Struggle ◽  
13Th Century ◽  
14Th Century ◽  
Political Situation

This essay presents the diplomatic relations between the Pomeranian Duke Bogusław IV and his stepmother, Duchess Matilda. Bogusław was the first son of Duke Barnim I and his second wife, Duchess Margaret of Mecklenburg. The first aim is to describe some general information relating to their personal life. Another crucial objective is to explore in greater detail the political situation in the Duchy of Pomerania towards the end of the 13th century and in the early 14th century. This is a complex problem because of the numerous conflicets between Duke Bogusław IV and the Margraviate of Brandenburg. His stepmother, Duchess Matilda, was a daughter of Margrave Otto III of Brandenburg. This fact had an immense influence on their diplomatic relations. In 1295, the Duchy of Pomerania was divided between Duke Bogusław IV and his half‑brother, Otto I. According to this agreement, Bogusław received Wolgast, and Otto Szczecin. The paper shows that in all likelihood Duchess Matilda contributed to this division of the duchy.

scholarly journals Czas powstania krzyżackiego komturstwa w Pokarminie (Brandenburg) a kwestia chronologii wznoszenia tamtejszego zamku

2019 ◽  
pp. 100-113
Author(s):  
Sławomir Jóźwiak ◽  
Janusz Trupinda
Keyword(s):  
The State ◽  
13Th Century ◽  
Curtain Wall ◽  
Common Assumption ◽  
14Th Century ◽  
Construction Works

The analyses performed in the paper indicate that the construction works on the brick Teutonic Commandery Castle in Pokarmin (Brandenburg) started in the 1280s (perhaps around 1283). This coincided with the decision to make it the headquarters of the order and the seat of the commander, which took place at the end of 1283 or at the beginning of 1294. The castle was more or less finished (the main wing and the curtain wall surrounding the whole site?) in 1290. At the beginning of the 14th century (before 1306) it had two or three wings and was built on a rectangular plane. By no means was the castle in Pokarmin the first or model regular castle in the State of the Teutonic Order in Prussia, which was a common assumption among scholars up until now. This issue is still being researched, but more and more information points to Papowo in the Chełmno land as the first regular (square), four‑wing commandery castle in Prussia. We are still not certain, however, if by the end of the 13th century its construction had been completed.

scholarly journals The Architecture of Mevlevi Buildings, One of the Dervish Houses in the Ottoman Geography

2019 ◽  
Vol 2 (4) ◽  
pp. 307
Author(s):  
Hasan Şehmuz Haştemoğlu ◽  
Engin Kepenek
Keyword(s):  
Saudi Arabia ◽  
Thirteenth Century ◽  
16Th Century ◽  
13Th Century ◽  
Islamic Architecture ◽  
Architectural Style ◽  
Turkish Republic ◽  
The Law ◽  
The Republic ◽  
Republic Of Turkey

The Mevlevism order was established in the Seljuk period in Anatolia in the thirteenth century. After the death of Mevlana Celaleddin-i Rumi, his son Sultan Veled systemized his father's thoughts and created his own rules and brought the rituals to a ceremony in the form of sema ceremonies. Sultan Veled gave the name “Mevlevism” to his sect and was called “Mevlevihan” to his Dervish Houses. Nearly 140 Mevlevihane building was established in a wide geography which its east is in Tabriz (Iran), west is in Pecu (Hungary), north is in Gözleve (Ukraine), South is in Cairo (Egypt) and Mecca in Saudi Arabia. Nearly 80 of these Dervish Houses remained in the Republic of Turkey. After the declaration of Turkish Republic, these Dervish Houses were closed in 1925 by the law of “closure Tekkes and Zaviyes”, no. 677. There are two kinds of Mevlevihan, which are “Asitane” and “Zaviye”. Mevlevihan called Asitane are the main Dergahs which are full-fledged and has removing “ordeal” possibilities. The number of Asitane constructions is around 15 in all Mevlevihan buildings. Another Mevlevihan building is Zaviye. Zaviye were ruled by Mevlevi, who has the title of “şeyh” and “dede”. Many of the Mevlevihan become a historical monument because of their architectural style and construction date. However, most of these structures have been ruined over the years. Apart from a small number of Mevlevihan, which was established as "Külliye", "Semahane" parts of these Mevlevihan were used as mosques and remained up to date. When the architectural programs of the Mevlevihans are examined, it is seen that the Mevlevihans, which were settled down in 13th century have an architectural program after the 16th century and they take Konya Mevlana Dergah as an example. However, it is not possible to mention about same sized and specified spaces in all the Mevlevihans. There are similar sections only in the large- scale Mevlevihans which are “Asitane” status. In this study, an evaluation and classification study was carried out on the architectural formation of the Mevlevihans one of the Dervish constructions in Islamic architecture which attracted attention with its wide geography.

scholarly journals Experience and Theory in Architectural Design: Digital Chain Case

2017 ◽  
pp. 121
Author(s):  
Mariela Cvetić ◽  
Slađana Marković
Keyword(s):  
Architectural Design ◽  
Design Code ◽  
Gothic Architecture ◽  
User Input ◽  
Main Driver ◽  
Design Idea ◽  
Main Component ◽  
And Behavior ◽  
The Impact ◽  
Testing Design

The aim of this paper is to research the impact to emerging theory based on the relation between the architect and his work in a digital approach to the process of design and realization by the principle of Digital Chain. Digital Chain is an uninterruptible digital process consisting of design (idea, coding, geometrics), through construction (structure, junction, prototyping) to production (fabrication) with every step as a programmed entity connected by CAAD/CAM technology universal interfaces. The term Digital Chain is defined and researched (theoretically, experimentally and practically) by the CAAD Chair at ETHZ within the research projects of this institute. Digital Chain is not continuous without the role and position of the architect as the fluid energy and expert that investigates how digital technology is changing, i.e. the entire process of the chain, simultaneously adapting to it.In that sense architecture appears as an open work (Umberto Eco) without final definitions and in a constant process of information motion as the main component of the architectural product caused by the demands of context, function, form and user input. Testing design code through changes of parameters in iterations, as well as checks in prototype on the next level, makes the theoretical playground between experiment and experience, through education and expertise. It is examplary that interest in the process (performance) was larger than the representation (appearance), what Deleuze and Guattari call supremacy of the Gothic spirit over the spirit of Romanesque or classical spirit, where Gothic deals with the generation of Gothic architecture by understanding the forces, trends and behavior of the material from the bottom to the top, contrary to the classic generation that deals with the imposition of visual aspects such as the proportion of top-down. This paper considers experience or posteriori knowledge as the main driver of the emerging theory of the Digital Chain. Article received: December 26, 2016; Article accepted: January 23, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Cvetić, Mariela, and Slađana Marković. "Experience and Theory in Architectural Design: Digital Chain Case." AM Journal of Art and Media Studies 12 (2017): 121-134.

New evidence on the so-called Caravanserai of Koneurgench

2021 ◽  
Vol 32 ◽  
pp. 356-366
Author(s):  
M. Mamedov ◽  
◽  
E. Muradova ◽  
Keyword(s):  
13Th Century ◽  
Archaeological Investigation ◽  
14Th Century ◽  
Preliminary Results ◽  
New Evidence ◽  
The Town

This paper presents preliminary results of the archaeological investigation of the so-called Caravanserai of Koneurgench. The beginning of its construction is dated to the boundary between the 12th and 13th century. Having been severely damaged in the course of the Mongolian invasion it was reconstructed in the first third of the 14th century and finally destroyed during the devastation of the town by Timur in 1388. The question about the purpose of this building is not definitely solved but, in terms of typology, it is similar to the multi-column jumah mosque or a mosque with a courtyard layout.

MOSAICS IN THE REGIONAL MUSEUM OF MESSINA, THEIR STYLISTIC FEATURES AND PLACE IN THE ART OF THE EARLY PALAEOLOGAN PERIOD

2021 ◽  
pp. 65-77
Author(s):  
Maria I. Yakovleva ◽  
Keyword(s):  
Research Literature ◽  
Local Churches ◽  
13Th Century ◽  
14Th Century ◽  
Byzantine Art

The Regional Museum of Messina possesses four fragments of monumental mosaics originating from local churches. Their dating, as suggested in research literature, varies between the second half of the 13th century and the first third of the 14th. А question remains open concerning the roles that the authentic Byzantine and/or local Sicilian masters played in their creation. Messinian mosaic fragments show familiarity with methods of rendering faces which were not crystallized in Byzantine art before the origin of the mosaics in Kariye Camii (1316–1321). In the opinion expressed here, they were all produced during the first third of the 14th century, by local craftsmen who were guided by Constantinople models, although a manner they worked in was more simplified in comparison with metropolitan one. An exception is a mosaic depicting the archangel Michael, which could have been created by a visiting Byzantine master who had metropolitan training.

Sign in / Sign up

Export Citation Format

Share Document