This cathedral itself might be better compared to Michelangelo's painting of the Sistine Chapel, as it too has a multitude of figures looking down upon the visitor, as Chartres does. But if we are comparing the cathedral to the "David," one could say that they are similar in proportion. Chartres is broad-based and of human proportions. The round rose window is its head, and the shoulders are the square behind it, holding up both arms, pointing to the sky. It appears to have its feet spread, and the flying buttresses on either side appear like a skirt or wings under which a chick might be gathered.
As to structure, the church is made in many parts, "the vaulting was quadripartite, which eliminated the need for alternating supports,"(Frazier 440) whereas the "David" is made on one block of stone. As to materials, the cathedral is made of masonry stone, in blocks and long rectangles, with a brick-like look on the flat facades, whereas the "David" is smooth, curvaceous and made of pure white marble, instead of gray rock.
As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and...
The importance of the previous site to the locals is evidence in the fact that parts of that older building were "built into the terrace wall," ("Aegina, Temple of Aphaia (Building)"). The Temple of Portuna was built of different materials than the Greek temple, out of "tufa and travertine blocks which had been originally been coated with a fine layer of stucco," (Sullivan). What is significant from the context
The sheer length of time designated to each suggests a great deal about the excess of resources, man-power and conceit which were reserved for the cite of worship, historical documentation, deference to the shared authority of the Crown and Church and, in the case of St. Denis, the interment of France's Kings. And embodied in this long process would be the incorporation of a host of aesthetic, spiritual and
Richter and Gardiner in Bach's Canata Recordings The Baroque was a style expressed in art, music, architecture and even literature from the Age of Discovery in the 16th century until the early 18th century. Most describe it as more dramatic, florid, embellished and a move away from the total religiosity of the Middle Ages and into a more secular and emotional, time frame. However, the spread of the Baroque in music,
LACMA Artifacts One of the strengths of the collections at the Los Angeles County Museum of Art is collection of works from the ancient Near East. This paper examines two of those artifacts, discussing both their aesthetics properties as well as the historical, political and cultural context in which the two works were created. These works - although they provide only the barest glimpse into the complexities of cultural and religious
Urbanism Bristol, Rhode Island On its website, Bristol describes itself as a town, and these appear to be a fair characterization. What could be termed a town center, the waterfront district is clustered in an area proximal to Bristol Harbor to the West. The surrounding areas to the north, south, and east appear to be less rigidly formed, with some apparent sprawl. Three large and distinct historic districts are located in
An important influence on Renaissance architecture was the Dome of the Rock, famous for its spatial harmony, balance and overall perfection. . . . The Dome of the Rock is basically a Byzantine building [with] classical columns, topped by arches in alternating black and white marble, the dome, and the gold and semi-precious mosaics that decorate the walls all speak of Byzantine heritage" (p. 119). Some scholars, though, have argued
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