Academia.eduAcademia.edu

Figure 10 – uploaded by John James

See full PDFdownloadDownload figure
Fig. 10 Chartres cathedral, south tower third level and spire, showing three levels with similar capitals and heads and changes to the buttresses. Campaigns 20 and 19 before the crusade are coloured, each of 12 courses.

Figure 10 Chartres cathedral, south tower third level and spire, showing three levels with similar capitals and heads and changes to the buttresses. Campaigns 20 and 19 before the crusade are coloured, each of 12 courses.

Related Figures (34)

Fig. 1 Graph of costs of construction and numbers of churches, by decade, calculated from the more important churches..
Fig. 1 Graph of costs of construction and numbers of churches, by decade, calculated from the more important churches..
Fig.2 Saint-Denis-en-France west elevation with campaigns marked and dated by working downwards from the consecration of the upper chapel in 1140. priory at Argenteuil in 1129 .... (were) closely linked to the plans to enlarge the abbey church".*
Fig.2 Saint-Denis-en-France west elevation with campaigns marked and dated by working downwards from the consecration of the upper chapel in 1140. priory at Argenteuil in 1129 .... (were) closely linked to the plans to enlarge the abbey church".*
Fig. 3 Saint-Denis, narthex plan with axes marked in red. The disjunctions and chnaes are obvious. toichological study has yet been undertaken to pinpoint exactly where each master stopped and the next began.**
Fig. 3 Saint-Denis, narthex plan with axes marked in red. The disjunctions and chnaes are obvious. toichological study has yet been undertaken to pinpoint exactly where each master stopped and the next began.**
Fig. 4 Saint-Denis, central door, upper left jamb
Fig. 4 Saint-Denis, central door, upper left jamb
Fig. 6 Saint-Denis, south door, up]per left jamb
Fig. 6 Saint-Denis, south door, up]per left jamb
Fig. 5, Saint-Denis, central door, upper right jamb
Fig. 5, Saint-Denis, central door, upper right jamb
Fig. 7 Saint-Denis, south door, up]per left jamb
Fig. 7 Saint-Denis, south door, up]per left jamb
Fig. 8 Saint-Denis, imposts to south-east capitals on WN2 pier.
Fig. 8 Saint-Denis, imposts to south-east capitals on WN2 pier.
Fig.9 Saint-Denis, capitals in WN pier with imposts carved from three templates, colored.
Fig.9 Saint-Denis, capitals in WN pier with imposts carved from three templates, colored.
Fig.. 11 Chartres elevation of western towers with campaigns marked and dated working downwards from the transition from square to octagot in the upper stage of the south tower in 1146.
Fig.. 11 Chartres elevation of western towers with campaigns marked and dated working downwards from the transition from square to octagot in the upper stage of the south tower in 1146.
Fig. 12 Model of the west end Fulbert nave with lower part of the fore porch to show the stairs from the crypt and the excavation for the north tower. The tower suggested in the Mici drawing is a guess, and the roof over the stairs are demolished.
Fig. 12 Model of the west end Fulbert nave with lower part of the fore porch to show the stairs from the crypt and the excavation for the north tower. The tower suggested in the Mici drawing is a guess, and the roof over the stairs are demolished.
Fig. 13. Reims cathedral, tomb of Hughes Libergier. of the most important, the rod, the square and the proportional dividers,
Fig. 13. Reims cathedral, tomb of Hughes Libergier. of the most important, the rod, the square and the proportional dividers,
Fig. 14 Lincoln cathedral carvers lodge, the two templates on this stone will be used to mark the upper and lower outline, and the transition between them is formed freehand.
Fig. 14 Lincoln cathedral carvers lodge, the two templates on this stone will be used to mark the upper and lower outline, and the transition between them is formed freehand.
Fig. 15 Banister Fletcher a typical page of comparative examples showing thematic variations on elevations.
Fig. 15 Banister Fletcher a typical page of comparative examples showing thematic variations on elevations.
Fig. 16 Priez, Saint-Jean-Baptiste, apse interior
Fig. 16 Priez, Saint-Jean-Baptiste, apse interior
yr the least. The limited choices in the Canon made design easy.
yr the least. The limited choices in the Canon made design easy.
Fig. 19 Saint-Martin-des-Champs, Saint-Martin plans of piers for comparison, not to scale.
Fig. 19 Saint-Martin-des-Champs, Saint-Martin plans of piers for comparison, not to scale.
Fig. 20 Chartres cathedral, capital, south entry into north tower, aisle level.
Fig. 20 Chartres cathedral, capital, south entry into north tower, aisle level.
Fig. 21 Le Mans cathedral, capital, south nave aisle third pier. "V11 had become an obsession"! - a definition for the period.
Fig. 21 Le Mans cathedral, capital, south nave aisle third pier. "V11 had become an obsession"! - a definition for the period.
Fig.23 Chartres cathedral, the last of four panels between the doorways in the transept porches that display the transition from plate- to bar-tracery, around 1198.. Fig. 22 Chartres cathedral, south transept, pier between the north and central doors. Interlude 2: altering the Canon was a slow process
Fig.23 Chartres cathedral, the last of four panels between the doorways in the transept porches that display the transition from plate- to bar-tracery, around 1198.. Fig. 22 Chartres cathedral, south transept, pier between the north and central doors. Interlude 2: altering the Canon was a slow process
Fig. 25 Acy-en-Multien, Sains-Pierre-Paul, tower base with rib vaults.
Fig. 25 Acy-en-Multien, Sains-Pierre-Paul, tower base with rib vaults.
Fig. 26 Vaudoy-en-Brie, Saint-Medard, from the east, triforium windows blocked.
Fig. 26 Vaudoy-en-Brie, Saint-Medard, from the east, triforium windows blocked.
Fig. 27 Noél-St-Martin, Saint-Martin, tower with en délit shafts. En délit shafts: Compared to ashlar walls where the mortar in the joint compacts, the vertical bedding in en délit shafts does not shrink along the length.'” This meant the masonry wall had to settle before the shaft could be installed.'* The underside of the capitals over these shafts locates many of the joints between campaigns as the masons left for another job while the mortar joints settled. Even though it simplified cutting as the recess for the shaft could be simply squared off without the more difficult task of shaping round shafts on every course, the concept took some 50 years to be accepted. The earliest shafts were short, as in the windows of Rhuis and the nearby tower of Noél-Saint-Martin from the 1080s, Fig. 27.!° En délit shafts: Compared to ashlar walls where the mortar in the joint
Fig. 27 Noél-St-Martin, Saint-Martin, tower with en délit shafts. En délit shafts: Compared to ashlar walls where the mortar in the joint compacts, the vertical bedding in en délit shafts does not shrink along the length.'” This meant the masonry wall had to settle before the shaft could be installed.'* The underside of the capitals over these shafts locates many of the joints between campaigns as the masons left for another job while the mortar joints settled. Even though it simplified cutting as the recess for the shaft could be simply squared off without the more difficult task of shaping round shafts on every course, the concept took some 50 years to be accepted. The earliest shafts were short, as in the windows of Rhuis and the nearby tower of Noél-Saint-Martin from the 1080s, Fig. 27.!° En délit shafts: Compared to ashlar walls where the mortar in the joint
Fig. 28 Senlis cathedral, outline of nave piers placed inside the outline of the western piers. uncertainties.'** Masons and sculptors were unsecured part-time day workers who wandered or, if reputable, were sought. The advantage for the man in charge was that independent subcontractors
Fig. 28 Senlis cathedral, outline of nave piers placed inside the outline of the western piers. uncertainties.'** Masons and sculptors were unsecured part-time day workers who wandered or, if reputable, were sought. The advantage for the man in charge was that independent subcontractors
Fig. 29 Courville, Saint-Julien, nave, south aisle In the Laon choir gallery the number of imagiers fluctuated as the works progressed. The 221 remaining capitals may be allocated to 61 individuals, each staying an average of 31 working days, or five to six weeks.'*? One third arrived solo, some as members of small gangs of two or three max, possibly with assistants and apprentices. "They did not all arrive at the same time, nor did they leave together. They came when they could and seem to have departed as soon as they had completed their allotted task", which is the same as Salzman tells us from Carnarvon.
Fig. 29 Courville, Saint-Julien, nave, south aisle In the Laon choir gallery the number of imagiers fluctuated as the works progressed. The 221 remaining capitals may be allocated to 61 individuals, each staying an average of 31 working days, or five to six weeks.'*? One third arrived solo, some as members of small gangs of two or three max, possibly with assistants and apprentices. "They did not all arrive at the same time, nor did they leave together. They came when they could and seem to have departed as soon as they had completed their allotted task", which is the same as Salzman tells us from Carnarvon.
Palmier travelled from Italy to Provins in the early 30s, where he was joined by a companion who followed his palm-tree template but used the chisel in a different way, Fig. 30.'°? Another companion with a tempestuous manner of carving joined him in Saint-Denis and Etampes. Just after the crusade, possibly by then in his mid-50s, Palmier seems to have morphed into a master mason. There are seven buildings from the 1160s with a single simple palm-tree capital, Fig. 31, none carved by Palmier. Could they have been his signature stone, reflecting the essence of his normal template? Was this how he showed he was the master? Did any other master leave signatures elsewhere? His life may have followed a common path of advancement as failing strength and eyesight propelled many from mason to master to executive. master mason. There are seven buildings from the 1160s with a single simple signature stone, reflecting the essence of his normal template? Was this how he THUS: for big jobs assemble small subcontractors and a mobile workforce.
Palmier travelled from Italy to Provins in the early 30s, where he was joined by a companion who followed his palm-tree template but used the chisel in a different way, Fig. 30.'°? Another companion with a tempestuous manner of carving joined him in Saint-Denis and Etampes. Just after the crusade, possibly by then in his mid-50s, Palmier seems to have morphed into a master mason. There are seven buildings from the 1160s with a single simple palm-tree capital, Fig. 31, none carved by Palmier. Could they have been his signature stone, reflecting the essence of his normal template? Was this how he showed he was the master? Did any other master leave signatures elsewhere? His life may have followed a common path of advancement as failing strength and eyesight propelled many from mason to master to executive. master mason. There are seven buildings from the 1160s with a single simple signature stone, reflecting the essence of his normal template? Was this how he THUS: for big jobs assemble small subcontractors and a mobile workforce.
Fig. 32 Braine, Saint-Yven, interior of choir from south transept.
Fig. 32 Braine, Saint-Yven, interior of choir from south transept.
Fig. 33 Chartres cathedral, comparison of nave (on the left) and choir(right) with major changes noted: (A) Buttresses in the nave are larger than the choir; (B) The drip in the sanctuary shows they had intended to continue the western elevation into the choir; (C) The nave’s long sloping sill was replaced with an external walkway; (D) Single windows in the nave were doubled in the east with plate tracery heads (E).
Fig. 33 Chartres cathedral, comparison of nave (on the left) and choir(right) with major changes noted: (A) Buttresses in the nave are larger than the choir; (B) The drip in the sanctuary shows they had intended to continue the western elevation into the choir; (C) The nave’s long sloping sill was replaced with an external walkway; (D) Single windows in the nave were doubled in the east with plate tracery heads (E).
Fig. 34 Chaillevois, Saint-Pierre, south rose. the walk-through buttresses are the same in both buildings.’ The concept for
Fig. 34 Chaillevois, Saint-Pierre, south rose. the walk-through buttresses are the same in both buildings.’ The concept for
Fig. 35 Canterbury cathedral, section with dates nominated in Gervase. Older stonework was retained in the foundations and walls, coloured olive. Then what of Canterbury?
Fig. 35 Canterbury cathedral, section with dates nominated in Gervase. Older stonework was retained in the foundations and walls, coloured olive. Then what of Canterbury?
Related topics:
ArchitectureMedieval HistoryArchitectural HistoryMedieval FranceChurch HistoryMasonry BuildingsMedieval ArtEarly Church HistoryRomanesque SculptureGothic Cathedral construction
580 California St., Suite 400
San Francisco, CA, 94104
© 2025 Academia. All rights reserved