The gothic screen : space, sculpture, and community in the by Jacqueline E. Jung
By Jacqueline E. Jung
On the center of Gothic cathedrals, the brink among nave and sanctuary was once marked through the choir display, a partitioning constitution of detailed complexity, grandeur, and wonder. instantaneously a cover for altars, a degree for functionality, a pedestal for crucifixes and reliquaries, and a floor for dazzling arrays of narrative and iconic sculptures, the choir reveal profoundly formed the areas of liturgy and social interplay for the varied groups, either clerical and lay, who shared the church inside. For the 1st time, this booklet attracts jointly an important examples - a few absolutely extant, others recognized via fragments and photo resources - from 13th- and fourteenth-century France and Germany. via analyses of either their architectural and sculptural parts, Jacqueline E. Jung unearths how those furniture, faraway from being barricades or stumbling blocks, have been important cars of communique and shapers of a neighborhood situated on Christian rituals and tales
Read Online or Download The gothic screen : space, sculpture, and community in the cathedrals of France and Germany, ca. 1200-1400 PDF
Similar buildings books
The structure of Eskimo peoples represents a diverse and winning technique of dealing with some of the most critical climates humankind can inhabit. the preferred photograph of the igloo is yet one of many many constructions tested by way of specialists Lee and Reinhardt within the first book-length and arctic-wide research of this impressive topic.
Structure A polemical examine how architectural wisdom is produced, disseminated, and got. within the giant literature on architectural thought and perform, the ways that architectural wisdom is absolutely taught, debated, and understood are too frequently overlooked. The essays accrued during this groundbreaking quantity deal with the present kingdom of structure as an educational self-discipline.
This ebook explores the range of old Greek sanctuaries--their settings, areas, shapes, and structures--and the rituals linked to them, resembling gala's and processions, sacrifice and libation, eating and consuming, prayer and providing, dance, initiation, session, and purification. next chapters hint the results of the Roman conquest, the triumph of Christianity, in addition to the impression of Turks, tourists, archaeologists, and travelers on those websites.
- Design Engineering Refocused (AD Smart)
- Living Streets - Wohnwege: LaubengÃ¤nge im Wohnungsbau | Access Galleries in Residential Buildings (German and English Edition)
- San Simeon Earthquake: Performance Of Public School Buildings
- Transportable Environments 3
- 101 Classic Homes of the Twenties: Floor Plans and Photographs (Dover Architecture)
Additional resources for The gothic screen : space, sculpture, and community in the cathedrals of France and Germany, ca. 1200-1400
117 Even more than at Bamberg and Mainz, the floor plan displays a decidedly fragmented treatment of space. The nave, with its six evenly spaced bays, terminates in a choir at either end, the western choir following the same width as the central vessel and the eastern one longer (due to an expansion in the fourteenth century) and slightly narrower. Two chapels occupying the ground floors of the respective towers – thus invisible from the nave – flank the large square bay of the west choir; these echo (at least on the plan) the square transept arms at the eastern end of the nave, which themselves open out into a pair of tiny chapels nestled against the apse walls.
Choirpartite groin vaults springing from a series of broad facing) side. This upper level often formed a pedestal round arches that open out toward the nave. 82 Immeonward, as well as for a variety of public spectacles diately above, at the center of a blind arcade of shallow 26 THE CHOIR SCREEN AS PARTITION rounded niches containing painted figures of the Twelve Apostles,83 is the built-in pulpit from which a cleric, axially aligned with a painted Christ in Majesty, could address congregants in the nave.
L. from ca. 26 After impassioned arguments by art historians and conservators to keep the screen in place – including reminders that the altarpiece was meant to be seen through the screen’s framing arches27 – a compromise was reached: the central three bays of the back wall were opened up, making the already delicate forms of the screen appear even more lightweight and permeable (Figure 3). This would be the solution to the so-called Lettnerproblem then preoccupying communities in churches at Buxheim, Xanten, and Cologne (St.