tag:blogger.com,1999:blog-59611294842023039892024-02-19T03:07:33.107-08:00ART HISTORY : FROM MIDDLE AGES TO CONTEMPORARY PERIODFIRST YEAR : FROM MIDDLE AGES TO RENAISSANCEJacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-5961129484202303989.post-78178477742371294442015-06-02T11:14:00.000-07:002015-09-18T08:29:49.658-07:00INTRODUCTION<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">This is an attempt.
An attempt to </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">create an English version of my Art History
Course (<a href="http://www.elccarignanhistoiredelart1ereannee.blogspot.fr/">http://www.elccarignanhistoiredelart1ereannee.blogspot.fr/</a>). I am waiting, I hope for corrections.<o:p></o:p></span></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">That history begin</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">s with the period of the
Middle Ages and continues
until the contemporary period. The principles are :<o:p></o:p></span></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">1. to show</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> that there is coherency in the successive artistic periods (that history has a sense : a direction and a meaning),<o:p></o:p></span></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">2. to</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> prepare our mind for contemporary
art, starting with the Middle Ages.<o:p></o:p></span></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">1. The</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> changes, e.g., from the Roman period to the Gothic period, from the
Gothic period to the Renaissance, or the Baroque period to the New Classicism
period, are not arbitrary. Each period is a continuation of the previous one but its
definition however lies in its opposition to it. Art history is both continuity and rupture.<o:p></o:p></span></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></b></div>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">2. The </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">period of the Middle Ages is as unfamiliar to us as the contemporary age for questions of art. But we
are not conscious of this. Because we believe that we
know, that we immediately understand the works
of the Middle Ages. That
belief is (generally) mistaken. It's an
illusion. In other words, we have to make the
same effort to understand art from the Middle
Ages as we do to understand contemporary art..<o:p></o:p></span></span></span></b></div>
<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></b>
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<b><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">This is why that history of art starts in the 12th century.</span></span></span></b><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span><br />
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__________________________________________________________________________<br />
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<div style="text-align: center;">
<b><span style="font-size: large;">TABLE OF CONTENTS (links)</span></b></div>
<b><br /></b>
<br />
<b><a href="http://an-arthistory.blogspot.fr/2015/06/chapter-1-romanesque-architecture.html">Chapter 1 : Romanesque architecture</a></b><br />
<b><a href="http://an-arthistory.blogspot.fr/2015/06/chapter-2-romanesque-sculpture.html">Chapter 2 : Romanesque sculpture</a></b><br />
<b><a href="http://an-arthistory.blogspot.fr/2015/06/chapter-3-gothic-architecture.html">Chapter 3 : Gothic architecture</a></b><br />
<b><a href="http://an-arthistory.blogspot.fr/2015/06/chapter-4-gothic-sculpture.html">Chapter 4 : Gothic sculpture</a></b><br />
<b><a href="http://an-arthistory.blogspot.fr/2015/09/normal-0-21-chapter-5-international.html">Chapter 5 : International Gothic and The Renaissance in the North in the 15th century (or : the Flemish Primitives) </a></b><br />
<b><a href="http://an-arthistory.blogspot.fr/2015/09/chapter-6-renaissance-in-italy.html">Chapter 6 : The Renaissance in Italy : The perspective</a> </b><br />
<br />
to follow :<br />
<span id="noHighlight_0.4044560531619936" style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;"></span><br />
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<span style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;">Chapter 7 : The Renaissance in Italy. The classical Renaissance : 14th and 15th centuries.</span><br />
<span style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;">Chapter 8 : One of the Renaissance artists : Leonard de Vinci</span><br />
<span style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;">Chapter 9 : The painters of the classical Renaissance (14th-15th centuries)</span><br />
<span style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;">Chapter 10 : The <span style="font-family: 'Segoe UI';">M</span>annerist <span style="font-family: 'Segoe UI';">I</span>talian Renaissance (16th century)</span><br />
<span style="background-color: white; color: #444444; font-family: 'Segoe UI'; font-size: 14px; line-height: 20px; margin: 0px; padding: 0px; text-align: left;">Chapter 11 : The artists of the <span style="font-family: 'Segoe UI';">M</span>annerist Italian Renaissance (16th century)</span></div>
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</div>
Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0tag:blogger.com,1999:blog-5961129484202303989.post-26637278414546045462015-06-02T11:13:00.000-07:002015-09-18T08:32:00.485-07:00CHAPTER 1 : ROMANESQUE ARCHITECTURE<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB">For a
church we have first a plan.<o:p></o:p></span></div>
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<b><span lang="EN-GB">1. The
plan.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The 12th
century is a pilgrimages century. The most prestigious, but also the most
dangerous and the most expensive, are: first, the Jerusalem pilgrimage,
secondly the pilgrimage to Rome. The most popular and the most frequented is
the famous pilgrimage to Santiago de Compostella.<o:p></o:p></span></div>
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<span lang="EN-GB">A
pilgrimage is a journey to a sacred place, an "tour package" toward holy
relics. In Greece, people were going to
Delphi to consult the Oracle delivered by the Pythia in order to know what
decision to make for an important business or a marriage or an alliance ... Why
to Delphi ? Because in Delphi was the
Omphalos, the navel of the World (a big carved stone egg-shaped). Delphi is the
center of the universe. The christian world, for its own part, introduced a
multitude of "centers" : places where are the holy relics with a
spiritual power (to insure salvation) or a temporal power (to cure a disease).<o:p></o:p></span></div>
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<span lang="EN-GB">The church
plan shall fulfill two functions : 1) to insure the relics show, 2) to insure
the pilgrims circulation.<o:p></o:p></span></div>
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<span lang="EN-GB">So, two
kinds of plans are adopted : the <i>benedictin plan</i> which promotes the
exhibition of the relics, they are placed in the chapels aligned along the
transept ;<o:p></o:p></span></div>
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<span lang="EN-GB">the <i>radiating
chapels plan</i> which promotes the pilgrims circulation, this plan puts
together the chapels in the apse. The latest plan shall prevail.<o:p></o:p></span></div>
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<b><span lang="EN-GB">2. The
structure.<o:p></o:p></span></b></div>
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<span lang="EN-GB">By
"structure" we understand the components of the building and their
composition.<o:p></o:p></span></div>
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<b><span lang="EN-GB">2.a. The
elements : the arches.<o:p></o:p></span></b></div>
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<span lang="EN-GB">We are
accustomed to imagine that the Romanesque arch is a semi-circular arch. It's
not true. Evidently the semi-circular is characteristic, but all the Romanesque
architecture is not reduced at that arch. The pointed arch, but many another
kinds of arches, are used by the Romanesque builders.<o:p></o:p></span></div>
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<b><span lang="EN-GB">2.b. The
elements : The vaults.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The most
common vault is, naturally, the <i>semi-circular
barrel vault</i>, but the <i>pointed barrel vault</i> is also a perfectly Romanesque structure.<o:p></o:p></span></div>
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<span lang="EN-GB">In the place
where is the intersection at right angles of two barrel vaults, we have the <i>cross-vaults</i>,
which are not the same as the ogival vault.<o:p></o:p></span></div>
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<b><span lang="EN-GB">3. The
wall.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The church
with wooden frame uses generally <i>pillars.</i><o:p></o:p></span></div>
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<span lang="EN-GB"><i><br /></i></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The church with vaults
uses <i>columns</i>. But things are not simple. At the pillar, <i>pilasters</i>
can be annexed (which creates the <i>quadrangular pillar</i>, e.g.) or <i>semi-columns</i>
(which produces the <i>quatrefoil pillar</i>). The column can be joined by
semi-columns. Sometimes the number of the elements is very sizable.</span></div>
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<b><span lang="EN-GB">3. b.
The engagement in the wall</span></b><span lang="EN-GB">.<o:p></o:p></span></div>
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<span lang="EN-GB">But these
pillars, these columns are generally engaged in the wall ; so, it appears that
their support function is secondary. All happens as if we wanted to show (by
this gathering of pilasters and semi-columns around the pillar or the column,
themselves joined to the wall) the subordination from the small to the tall and
the solidarity which is the result of that subordination ; which is the
characteristic of the feudal order in the Middle Ages (lords, vassals,
peasants).<o:p></o:p></span></div>
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<span lang="EN-GB">Below, the
terminology related to the column surmounted
by a capital and the drawing of a semi-column engaged in a pillar,
engaged itself in the wall.<o:p></o:p></span></div>
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<span lang="EN-GB"><span style="font-size: x-small;">(in order : abaque,
basket, astragale, shaft, torus, base)</span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<b><span lang="EN-GB">3. c.
The portal.<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-size: 12pt;">The portal is an essential element of the church.
Not because it is the passage from the outside to the inside (the church has
around it a perimeter which is a part of the sacredness of the edifice (often,
there is a cemetery next to it), but the portal is the place of the opening,
the place where the wall disappears.</span></span></div>
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<span style="font-size: x-small;">(in order : arch moulding, tympanum, lintel, corbel, trumeau, abutments)</span></div>
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<b><span lang="EN-GB">3. d.
The Romanesque wall.<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">The Greek
wall (below, left)is abstract. Whatever the stone extracted the quarry and then cut, we can put it where we want, we can put another stone in the same place
without difficulty. The Greek wall is homogeneous.<o:p></o:p></span></div>
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<span lang="EN-GB">The Romanesque wall (below, right) is concrete. Each stone is unique and wants that
another stone joins it perfectly. As in a living organism where each organ is
(more or less), adapted to the variations of all the other organs, the Romanesque stone responds at all the others.<o:p></o:p></span></div>
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<b><span lang="EN-GB">4. The
refusal of the perspective in paint.<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">The wall is
the essential element of the Romanesque art and the Romanesque spirit. It takes
priority over all other characteristics. It determines that should be the
painting and the sculpture of the 12th century.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">In the paint, e.g., there is no question of
"make a hole" in the wall by an illusion of depth. Therefore it is
not question to use the linear perspective which will be invented by the
Renaissance. We will not agree more than one plan and all will be showed on one
flat surface only.</span></div>
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<b><span lang="EN-GB">5. The
places for the decoration.<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">The places
for the sculptured decoration, therefore, are conditioned by the architecture.
They are the junction points. The capital, junction point of the column and the
vault. The base, the junction point of the column and the soil. The archivolt
at the junction of the inside and the outside (portal). Modillions, finally, at
the junction of the wall and the roof.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">6. The
chevet.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The chevet,
finally, is the Est end of the church ; it is composed of the apse around that,
as the semi-columns around the columns, are joined the absidioles. Here, we
remember the subordination from the small to the tall.<o:p></o:p></span></div>
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<span lang="EN-GB">Seen from
the outside, the church appears as a gigantic sculpture, carved in the space
itself, by drawing in that profane space an architectured block of holy space,
so that the look rises gradually towards the sky, by passing along the spire.<o:p></o:p></span></div>
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<b><span lang="EN-GB">7. The
problem of the sculpture.<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="font-size: 12pt;">a</span></b><span lang="EN-GB" style="font-size: 12pt;">. In
the Egyptian pattern, "technical" and "objectives"
dimensions coexist. The Pharaoh statue respects the human body proportions.
But, when the statue is brought at a huge size, the result is an important
visual deformation which is not corrected. The top of the statue is perceived
more small because far from its base, the base more large because perceived
closely.</span></span></div>
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<b><span lang="EN-GB" style="font-size: 12pt;">b.</span></b><span lang="EN-GB" style="font-size: 12pt;"> In the Greek pattern, the "objectives" dimensions prevails
over the "technical" dimensions. The visual correction is adopted and
makes that, whatever the dimensions of the statue, the human body proportions
seems respected. They are idealized</span></div>
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<b><span lang="EN-GB">c.</span></b><span lang="EN-GB"> In the medieval pattern, the
"objectives" dimensions are dropped and the human or animal figures
are submissive to deformations. We should explain (next chapter) these
deformations.<o:p></o:p></span></div>
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Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0tag:blogger.com,1999:blog-5961129484202303989.post-29047814037866377512015-06-02T02:09:00.003-07:002015-09-18T08:35:09.575-07:00CHAPTER 2 : ROMANESQUE SCULPTURE<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-GB">1. The colour.<o:p></o:p></span></b></div>
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<br /></div>
<br />
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<span lang="EN-GB">The colour is everywhere in the Romanesque
churches : on the walls, on the sculptures.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<b><span lang="EN-GB">2. The iconography</span></b><span lang="EN-GB">.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB">It's the iconography of a terrified faith : The
Apocalypse on the tympanums.<o:p></o:p></span></div>
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<span lang="EN-GB">The 12th century man believes. He
believes in a God absolutely stranger which doesn't have nothing common with
human people. A terrible God whose the will is incomprehensible for human mind.
The byzantine figure of the Moissac tympanum is made to do this impression of
terrifying power.</span></div>
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<span lang="EN-GB">He believes yet that the end of the world is
imminent. He believes that he can be concerned directly. He believes that the
Apocalypse is for tomorrow, may be even for today.<o:p></o:p></span></div>
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<span lang="EN-GB">The Gothic God will get closer to the
human people. His will, by distinguishing between the good and the bad, becomes
comprehensible and, on the tympanums, the Last Judgment will take the place of
the Apocalypse.</span></div>
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<span lang="EN-GB">The late Gothic God, in the 14th and 15th
centuries will become yet more "human" : he will be The Crucified.
The God reached by the death : the Sorrowful Christ.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">3. The characteristics : the rejection of
"realism".<o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">The Romanesque sculpture isn't based on the
"nature". The human depiction appears deformed. We have to understand
the reasons of that deformation. They come
(see <i>Focillon </i></span><span class="apple-converted-space"><i><span lang="EN-GB" style="background: white; color: #333333; font-family: Arial; font-size: 10.0pt; mso-ansi-language: EN-GB;"> </span></i></span><i><span lang="EN-GB" style="background: white; color: #333333; font-family: Arial; font-size: 10.0pt; mso-ansi-language: EN-GB;">Art of the West in the Middle Ages</span></i><span lang="EN-GB" style="background: white; color: #333333; font-family: Arial; font-size: 10.0pt; mso-ansi-language: EN-GB;">. 2 vols. New York: Phaidon, 1963</span><span lang="EN-GB">) from the obedience of the
sculpture to the architectural surroundings, from the architectural domination
on the sculpture. This will only start
to release itself in the Gothic
age and will reach its emancipation in
the Renaissance.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">3.a. First law : The submission to the
architectural surroundings (Architectural factor).</span></b><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB">The capital, the archivolt are formal
surroundings in which the sculpture has to fit. To manage to do that, it has,
strictly talking, to fold up. In this
way the "<i>Trapezium Man</i>" (below) owes his form to the cupola brick in
which he fits.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<span lang="EN-GB"><span style="font-size: x-small;">(Aulnay. <i>The Trapezium Man)</i></span></span></div>
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<span lang="EN-GB"><i><br /></i></span></div>
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<b><span lang="EN-GB">3.d. Second law : the "space-place"
(Metaphysical factor).<o:p></o:p></span></b></div>
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<span lang="EN-GB">The Aristotelian theory, in force during the
Middle Ages, doesn't consider the space like an homogeneous thing, as Euclid,
but made of places rigorously distinct and independent. It's not the same
thing for an object to be at the top or to be at the bottom, to be on the left
or to be on the right. The evidence is that the flame goes up, because its
natural place is at the top, or that the stone fall because its natural place
is at the bottom. It's by this theory that Aristotle explains the motion.<o:p></o:p></span></div>
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<span lang="EN-GB">Several consequences result from this conception.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">a. Each figure takes up a place and takes it
entirely.<o:p></o:p></span></b></div>
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<span lang="EN-GB">
</span></div>
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<span lang="EN-GB">As a result, the figure suffers deformations
without which it can't take up the place entirely. See below <o:p></o:p></span><span style="font-size: 12pt; text-align: left;">the posture of the old
men (Moissac).</span></div>
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<span lang="EN-GB"><br /></span></div>
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<b><span lang="EN-GB">b. Each place is independent of each other (by
its contents).<o:p></o:p></span></b></div>
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<span lang="EN-GB">The capitals of the Moissac cloister come one
after the other without logic. We would have waited that these capitals tell a
story, because of their succession : starting by Genesis to ending by the
Resurrection. It's not the case. The succession is totally non-historic.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">c. Each place is independent of each other (by
its form).<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-size: 12pt;">As a result, each figure has to fold itself at the
neighboring figure (as the unequal stones of the Romanesque wall which have to
adjust their form to the forms of the
other stones). Below, in Moissac, the <i>Tetramorph </i>figures are adjusted to
the form of the divine place, and the Seraphim's figures are adjusted to the
form of the <i>Tetramorp</i>h's "places".</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxNbjnJetySWx-rT2vVLFOpKGV9g8ulVkdXCkxWY7Vze_Mh8HCzyfUg0oTFb5GAhcLTnxOsUG1h9JZMUMloB8qB6tXMY4qEIzPfL6LRxWlReyCaSn4bKuegfFsagjMkLhUY9swtOpFUY/s1600/Portail+Cadre4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxNbjnJetySWx-rT2vVLFOpKGV9g8ulVkdXCkxWY7Vze_Mh8HCzyfUg0oTFb5GAhcLTnxOsUG1h9JZMUMloB8qB6tXMY4qEIzPfL6LRxWlReyCaSn4bKuegfFsagjMkLhUY9swtOpFUY/s320/Portail+Cadre4.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<b><span lang="EN-GB">3.c. Third law : the hierarchic perspective
(Symbolic factor).<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">The Middle Ages refuses the linear perspective that
will be the Renaissance perspective. It refuses to dig in an illusory way (as
much as in a real way) the wall which is the vector of the Romanesque
architecture. But it knows the perspective. That perspective is <i>hierarchic</i>
: in the center, at the top and in the most large place it puts the most
important figure (God, e.g.). On the right, at the top, it puts the figure
which is, by order of importance, just after the first (the evangelist the most
close of God : saint John (the eagle, the one which looks the sun squarely). On
the left, at the top : saint Matthew (the angel, the one to whom the angel has
dictated his Gospel). On the right, but at the base, saint Marc (the lion,
which figures the Resurrection of the Christ). On the left, at the base, saint
Luke (the ox, which figures the Crucifixion). At the base, the less
"noble" : the Apocalypse's old men.</span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuC7PkAhY5gECxJ5BXsqPi7KlXUG4sfxq0Zu4XZuZDr8vsAyZxu8r2MOa65OXKAw9_dCunC0bXxl31uAmhOA8A7QnGLafuIwBPbLkKgX9j-ZnDxaIfiOQzmtdhllT2X4yWSfPm5P6HoBA/s1600/Portail+Cadre5b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuC7PkAhY5gECxJ5BXsqPi7KlXUG4sfxq0Zu4XZuZDr8vsAyZxu8r2MOa65OXKAw9_dCunC0bXxl31uAmhOA8A7QnGLafuIwBPbLkKgX9j-ZnDxaIfiOQzmtdhllT2X4yWSfPm5P6HoBA/s320/Portail+Cadre5b.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz-R3rEYm0czLzIxd7RjRexF6hCEeWHfjL3hTieDTUWCJsb-Rqty_nbgz686m4T0IPiBKRE81HI_10e-fA4PbxK-A3G7UX4VmL7ldCZIKoRrAXvlv3fccOMm6OpQHiU79FEFSd1JYzX68/s1600/Perspective+hi%25C3%25A9rarchique+sch%25C3%25A9ma.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz-R3rEYm0czLzIxd7RjRexF6hCEeWHfjL3hTieDTUWCJsb-Rqty_nbgz686m4T0IPiBKRE81HI_10e-fA4PbxK-A3G7UX4VmL7ldCZIKoRrAXvlv3fccOMm6OpQHiU79FEFSd1JYzX68/s640/Perspective+hi%25C3%25A9rarchique+sch%25C3%25A9ma.jpg" width="640" /></a></div>
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<span style="font-size: x-small;">(Hierarchic perspective : (left : visual perspective, Renaissance; right : hierarchic perspective, Middle Ages.</span></div>
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<span style="font-size: x-small;">From left to right : back = smallest = less important ; front = biggest = more important)</span></div>
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<br /></div>
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<b><span lang="EN-GB">3.d. Fourth law (1) : the submission to the
frame (Plastic factor).<o:p></o:p></span></b></div>
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</div>
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<span lang="EN-GB">The Romanesque capital comes from the Corinthian
capital. The figures which are carved on it, are repeating the underlying
forms, the frame of this capital : fleuron, two levels of acanthus leaves, volutes. The figures will be folded, by
following this frame.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">3.e. Fourth law (2) : The submission to the
decorative frame (Plastic factor).<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">Symmetry or metamorphosis.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The geometric requirements, due to the Corinthian
frame (symmetry) are making
new deformations, but especially hybrid figures emerging by metamorphosis.</span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjl1R08pmELg87rmGjX2aud2BEdVF6WLHPynCUF-dhea9eKt0lcqb3HDuVkv4JixmCWbMojAdEuj0N11dOX4uEuS-lkyw7g-FVAwbTi7NkbumSqqiVAVrg7jRyTN9g7eXYUUHgzg9WL0Q/s1600/Trame+ornementale+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjl1R08pmELg87rmGjX2aud2BEdVF6WLHPynCUF-dhea9eKt0lcqb3HDuVkv4JixmCWbMojAdEuj0N11dOX4uEuS-lkyw7g-FVAwbTi7NkbumSqqiVAVrg7jRyTN9g7eXYUUHgzg9WL0Q/s320/Trame+ornementale+2.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<span lang="EN-GB">There is also the consequences of a particular
conception of the "Nature". God has created the World ; he has given
form to the beings who inhabit that World, but the infinity of his power can't
be reduced at the Creation of the familiar beings. The Nature is itself the
expression of the God's power, the Nature doesn't stop create new forms. This
is not the Darwinism or the Lamarckism of the 19th century, because the ideas
of evolution or adaptation are not 12th century ideas. The Nature doesn't
create to do better, it creates because it's an active power. So, on the edge
of the manuscript pages, on the church walls, there are monsters chains,
creatures who devour each other, who metamorphose themselves the one in the
other in an incessant way.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">4. The decoration.<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">
<span lang="EN-GB" style="font-size: 12pt;">Here there is no deformations. Especially on the
capitals abacus or on the tympanums archivolt, there are geometric figures. The
interlacing (geometric forms of the monsters chains) are the most frequents.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWgy0Ub6Xh8j9dV8Xaa_otNZYU-E7fHFEI_WSSkIvhQPbWmo3SrHWRo_9VnAkx0hig3HPciy1nh4ypXKFj-vUAGRVCouFEnuBTxhEeujcMc0qfYxfOEXhs_iVKav2sy43yS-Ql6NTiIw/s1600/Ornements.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWgy0Ub6Xh8j9dV8Xaa_otNZYU-E7fHFEI_WSSkIvhQPbWmo3SrHWRo_9VnAkx0hig3HPciy1nh4ypXKFj-vUAGRVCouFEnuBTxhEeujcMc0qfYxfOEXhs_iVKav2sy43yS-Ql6NTiIw/s320/Ornements.jpg" width="350" /></a></div>
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<br /></div>
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<b><span lang="EN-GB">5. The tradition.<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">Just the opposite of the contemporary artist,
the Romanesque artist is not turned toward the invention but rather toward the
tradition. His work is to transmit. This is the consequence of that : all the
knowledge, in the Middle Ages, is given
already. All the knowledge is disclosed. The Fathers of the Church have to make
explicit this knowledge. The artists have to illustrate this knowledge. In the
monasteries, the monks have to copy the manuscripts. The same thing, for the
artists, on the churches ' walls.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">But, the sculptor's work isn't restricted to do
a simple reproduction. He immerses himself in the pattern and gives an
adaptation of it in the stone. The Moissac tympanum may be coming from the <i>Apocalypse
de Saint-Sever</i>. The liturgical drama is another pattern for the sculptor.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB">6. The painting.<o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">Its characteristics are alike at the one of the
sculpture.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">6.a. Wall painting.<o:p></o:p></span></b></div>
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<b><span lang="EN-GB">a.</span></b><span lang="EN-GB"> The depiction has to refuse any illusion of depth.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">b</span></b><span lang="EN-GB">. Submission to the frame.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">The painting has to submit its figures at the
same requirements as the sculpture.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">c.</span></b><span lang="EN-GB"> Submission to the underlying (geometric).<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">Exactly as the sculpture.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">6.b. The manuscripts.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">a.</span></b><span lang="EN-GB"> The stone tone is frequent for the paper on which the monk writes or
draws illuminations. All perspective representation is exclude (in spite of the fact that it is, but rather in the
15th century, in these illuminations, that appears the first attempts of linear
perspective).<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">b. Submission to the frame.<o:p></o:p></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">Here yet (see the capital letters) the figures have
to fold in front of the "architecture" of the page or the margin.</span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<span lang="EN-GB"><br /></span></div>
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<span lang="EN-GB"><i><br /></i></span></div>
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<span lang="EN-GB"><br /></span></div>
</div>
Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0tag:blogger.com,1999:blog-5961129484202303989.post-13049548040645903892015-06-02T02:08:00.000-07:002015-09-18T08:39:04.717-07:00CHAPTER 3 : GOTHIC ARCHITECTURE<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">Romanesque architecture was in the wall. Gothic
architecture will be the negation of the wall. Its replacement by glass walls
: the stained glasses.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">1. The ogive.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">The invention of the ogival vault involves to make that,
on the vault point which receives the
most pressure, the forces are returned toward the outside. The cross-vault
(or groin vault) is produced by the intersection at right angles of two vaults.
The vault weighs on that point. But, rather to weigh downwards like a direct force, perpendicular to the soil, it weighs sidelong. </span>The weight is dispersed toward four directions.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">2. The ogival vault.</span></b><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">The Gothic cathedral is a treatise of architecture.
It is enough to see it, to understand the strengths game which is presents in
the vault and the pillars.</span> </div>
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<span lang="EN-GB" style="font-size: 12pt;">The ogival vault can take two forms : the <i>domical
vault,</i> which is made of a succession of domes, because the cross vault is highest than the top of the arches formeret or doubleau.</span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">The <i>segmental vault</i>
which is given by the lifting of the arches formeret and doubleau, to align
them on the cross vault. So, the vault
appears regular.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">3. The erection of the wall.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">Several solutions were used successively or
simultaneously to erect the church. First, the formeret arch.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">a. The formeret arch.<o:p></o:p></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">Drowned in the wall, parallel to the great arcade
which marks out the nave, span by span,
opening on the nave collateral, the
formeret arch reinforces the structure, following the principle above exposed :
throw the forces on both sides and, by the way, divide these forces by
half, rather than to receive them perpendicular</span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jxBu8KBKge37aNVBLODPGhYr3tFLS8_SYFto9Wm4NYLIimnd9koL9bDq31seG2Ghyphenhyphen7hdnakKsSmV_zj3t2oRPfXA8ujqods-p8ZmUy98IzlPSlT-AVWO3WlqIE6l5G8OUSlNvKmnYeU/s1600/Arc+formeret.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jxBu8KBKge37aNVBLODPGhYr3tFLS8_SYFto9Wm4NYLIimnd9koL9bDq31seG2Ghyphenhyphen7hdnakKsSmV_zj3t2oRPfXA8ujqods-p8ZmUy98IzlPSlT-AVWO3WlqIE6l5G8OUSlNvKmnYeU/s640/Arc+formeret.jpg" width="640" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">b. The slimming down of the supports.<o:p></o:p></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">The reinforcement of the wall relies also on
another kind of building. We can use the stone like it leaves the quarry :
horizontal strata which promotes the elasticity. But we can also use the
stone in another way : vertically, with vertical strata. This promotes the
solidity. That building is most rigid. That is the Gothic builders solution. In
the same time, the support is thinned and most light.</span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3P9hZA5JQcFxkwre3BeCrQLxJpiZmphIsxM-1FU6AEzzfrhJxDu_JbN1stn6_HEH_NREAOAN-Sk9uGEusEdZF9m8wKAWp3rP2CnG2Q1BSh5nN0bv43IKe4hOJpZS2sHAG6iqehrK47io/s1600/D%25C3%25A9lit+et+appareill%25C3%25A9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3P9hZA5JQcFxkwre3BeCrQLxJpiZmphIsxM-1FU6AEzzfrhJxDu_JbN1stn6_HEH_NREAOAN-Sk9uGEusEdZF9m8wKAWp3rP2CnG2Q1BSh5nN0bv43IKe4hOJpZS2sHAG6iqehrK47io/s320/D%25C3%25A9lit+et+appareill%25C3%25A9.jpg" width="320" /></a></div>
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<b><span lang="EN-GB">c. The first Gothic (12th century)</span></b><span lang="EN-GB"> : Saint-Denis, Noyon,
Notre-Dame-de-Paris.<o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYqRvZRUYC6-mYiYx46n27Bf9vmsBWrx8msAs2G0qxRnUFSQSOYtbv8DQnwECiOZ4-1U3GZoxehA37ZLQhpHCzEYwfHqnBnN7YvsB77V6AevhlRAVFriOeyzf7nlkJlaefH-dz1iEMWI/s1600/Saint-Denis+au+XIX%25C2%25B0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYqRvZRUYC6-mYiYx46n27Bf9vmsBWrx8msAs2G0qxRnUFSQSOYtbv8DQnwECiOZ4-1U3GZoxehA37ZLQhpHCzEYwfHqnBnN7YvsB77V6AevhlRAVFriOeyzf7nlkJlaefH-dz1iEMWI/s320/Saint-Denis+au+XIX%25C2%25B0.jpg" width="210" /></a></div>
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<span style="font-size: x-small;">(Saint-Denis, in the 19th century)</span></div>
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<br /></div>
<!--[endif]--><o:p></o:p><br />
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">c.1.</span></b><span lang="EN-GB"> - Marienval (below) : a Romanesque church with the
first ogival vault.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMY0JSQ2ZvMOWDHEwHRDs8h1LygMPfz8pc7XaRH4Aw_emt18AmpoZeb9b1ldrRcw-GdnSms9EiaUsRiWoKXu9n6pCxLNvHWBddrfVo7owfVWVe1gLqaiAJaPrZcF5R2eowuowUxHkZFpc/s1600/Morienval.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMY0JSQ2ZvMOWDHEwHRDs8h1LygMPfz8pc7XaRH4Aw_emt18AmpoZeb9b1ldrRcw-GdnSms9EiaUsRiWoKXu9n6pCxLNvHWBddrfVo7owfVWVe1gLqaiAJaPrZcF5R2eowuowUxHkZFpc/s320/Morienval.jpg" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">c.2</span></b><span lang="EN-GB">. - Laon -(below) : typical of the first Gothic : the
four floors : the great arches, the gallery, the triforium and the high
windows.<o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzrf-58-FcIVqYcBpePjkmJqO66y8wYef1V4TSVHBkbN_OYRodMzz89_l_xOQWCSLFa293z_9HtrcR7qhU1BCNTiRXNR6qiO0OsCkDG2JO0h1j4aZyWReUxAUNglzMod5ei18LF0C6sI/s1600/Laon+Tribune.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzrf-58-FcIVqYcBpePjkmJqO66y8wYef1V4TSVHBkbN_OYRodMzz89_l_xOQWCSLFa293z_9HtrcR7qhU1BCNTiRXNR6qiO0OsCkDG2JO0h1j4aZyWReUxAUNglzMod5ei18LF0C6sI/s1600/Laon+Tribune.jpg" /></a></div>
<!--[endif]--><o:p></o:p><br />
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The first Gothic often appears like a perfect Romanesque architecture (Noyon, e.g.). Its essential characteristic is the
development of the ogive, naturally, and also the arche formeret and the high
gallery. That gallery is erected on the collateral, creating a floor which
allows to support the nave wall and, by this way, to gain in height.</span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv0AOXwoiIqiZD-lhwJne-pS3IA-oDi_013q8ggc2LppHpD1FAICQilEPipfjqsRJAqhxz9_8GMRHy9G_ZfuV4GV3nkN6v87kkt_I8tLVifv7Ib2N7lneBAkrdJW6Wt2UVVxHCxt0EuNY/s1600/Laon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv0AOXwoiIqiZD-lhwJne-pS3IA-oDi_013q8ggc2LppHpD1FAICQilEPipfjqsRJAqhxz9_8GMRHy9G_ZfuV4GV3nkN6v87kkt_I8tLVifv7Ib2N7lneBAkrdJW6Wt2UVVxHCxt0EuNY/s400/Laon.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<span style="font-size: x-small;"><span lang="EN-GB">(From top to bottom : h</span><span style="text-align: left;">igh windows, triforium,
galleries, great arches)</span></span></div>
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<span style="font-size: 12pt; text-align: left;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">4. The flying buttress and the classical Gothic
(First half of the 13th century).<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">The appearance of the flying buttress allows to
dispense with the erection of the galleries. The vault "weighs" on
the wall, on the two sides. The gallery reinforced the sides. The flying
buttress is taking the forces and drives them outside the wall in the
abutment and, from there, to the soil.<o:p></o:p></span></div>
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</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB">Without the galleries, the wall is able to
hollowing itself out more. It is replaced by a glass wall : <i>the stained
glasses.</i><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8UrwJbZcw4NdRlawtx-URuEzzhebwHgHpFg033CNLycrS5AxoisGyaUERacbVT90Yoc69HtqctHm6LyWBa98occ2KH_AZKVqlpbcW54DnHGwPe1f7p-8UvLA86mWJuuvepHwaBLS4Rk/s1600/Arc+boutant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8UrwJbZcw4NdRlawtx-URuEzzhebwHgHpFg033CNLycrS5AxoisGyaUERacbVT90Yoc69HtqctHm6LyWBa98occ2KH_AZKVqlpbcW54DnHGwPe1f7p-8UvLA86mWJuuvepHwaBLS4Rk/s640/Arc+boutant.jpg" width="640" /></a></div>
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<span style="font-size: 12pt; text-align: left;"><br /></span></div>
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<span style="text-align: left;"><span style="font-size: x-small;">(From top to bottom : flying buttress with double flight, wall under gutters, abutment load (pinnacle), <span style="background-color: #6aa84f;">abutment,</span><span style="background-color: white;"> collateral, nave)</span></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]-->-<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Chartres, Reims, Amiens, Bourges, Le Mans.</div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-align: justify; text-indent: -18.0pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxNM269l8d_ewSNbcKSx0UWWJ4dImliZUMctTYicHb5LjQDCCAbvGODtFdY5-sgrbcKdXqMXbMzJEvK87nF7A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<span style="font-size: x-small;">(Extract of <i>Le défi des Bâtisseurs - La cathédrale de Strasbourg </i>Arte 2012)</span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<span style="font-size: x-small;"><a href="http://www.youtube.com/feature=player_embedded">http://www.youtube.com/feature=player_embedded</a></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB">5. The glass ark and the Radiating Gothic :
(Second half of the 13th century).<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><!--[if !supportEmptyParas]--> </span> </div>
<span lang="EN-GB"></span><br />
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB"><span style="font-size: 12pt;">The wall once disappeared, only subsist the
"ribs" and, between them, the stained glasses. The </span><i style="font-size: 12pt;">Sainte Chapelle </i><span style="font-size: 12pt;">(below)</span><span style="font-size: 12pt;">,
in the </span><i style="font-size: 12pt;">Île de la Cité</i><span style="font-size: 12pt;">, in Paris, is a glass building (as those which are
built nowadays). Here we are to the antipodes of the Romanesque architecture
based on the stone wall. The rose window (a radiating sun which is the origin
of the name attributed to the style of that period) is obviously one of the
most beautiful and</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">most persuasive
demonstration of that architecture so</span><span style="font-size: 12pt;">
</span><span style="font-size: 12pt;">elegant (in the sense where we say that a mathematical proof is
elegant).</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB"><span style="font-size: 12pt;"><br /></span></span></div>
<span lang="EN-GB">
</span>
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<span lang="EN-GB"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9dWfqUgbVMywMtWJwMfQk-WXdc9hzsWncMnB3ce0Mg3kiz6-vUgLZvomoxh4YSaEj3HKpRygLf8h0tSvTycHtK6DE_sasN5GaZDNFPzsOO4LFvs67EDP7b52srZWBiaHoz0imVtJ6BA/s1600/Sainte+Chapelle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9dWfqUgbVMywMtWJwMfQk-WXdc9hzsWncMnB3ce0Mg3kiz6-vUgLZvomoxh4YSaEj3HKpRygLf8h0tSvTycHtK6DE_sasN5GaZDNFPzsOO4LFvs67EDP7b52srZWBiaHoz0imVtJ6BA/s320/Sainte+Chapelle.jpg" width="320" /></a></span></div>
<span lang="EN-GB">
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<br /></div>
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<br /></div>
<div style="font-size: 12pt; text-align: justify;">
<div class="MsoNormal">
<b>6. The stained glass.<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>a. General features : the symbolic.<o:p></o:p></b></div>
<div class="MsoNormal">
<span lang="EN-GB">The cathedral is doubtless an ark where are
taking refuge those which want to be safe. But it is also the foreshadowing of
the God's City. In that sense it has to appear like a jewellery box where
abound precious stones. The stained windows give at the light which goes into
the church, the same reflection as these stones.<o:p></o:p></span></div>
<span lang="EN-GB" style="font-size: 12pt;">Furthermore, because the stained windows often
depict saints, they are as the Lord Court which is sitting with God, on both
sides of the tabernacle where God himself resides.</span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"></span><br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB">b. Its evolution.<o:p></o:p></span></b></span></div>
<span lang="EN-GB" style="font-size: 12pt;">
</span>
<br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">Furthermore, the stained glass evolution
teaches us something essential concerning its signification. In the Romanesque
period, the stained glass is little, it has not a lot of colors. Only a bit of
light is able to enter the church by those windows. And also, because of these
colors, it transforms that light.<o:p></o:p></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;">
</span>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">More the disappearing of the wall and its
replacement by the glass is progressing, more the colors are gaining intensity
(often "dark" : red or blue). As a result the light doesn't go into
the building more than before. The
increase of the stained glasses has not for aim to illuminate more the church.<o:p></o:p></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">The reason is that the aim of the stained glass is
not the illumination but the <i>transmutation</i> of the earthly light in a celestial light. In the God's House,
the sun light doesn't take place. One has to a divine light. The stained glass
is the philosopher's stone which following the transmutation.</span></span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"></span></span><br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB">7. The flamboyant Gothic. (End of 14th
century and 15th century).<o:p></o:p></span></b></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span>
<br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">In the Classical Gothic we were able to follow
the ribs of the columns and arches and, by that way, in a glance, to understand the architecture of the cathedral. In
the Flamboyant Gothic, the eye is lost in the complexity of the nerves which
the aim is not architectural but decorative, even spectacular.<o:p></o:p></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">This Gothic is named "Flamboyant" because
the columns and the arches, using the counter-curve, mime the grace (which will
said “Mannerist” in the 16th century) of the rising flame. It is an exotic
style, with a great lightness in which some wanted to see a
"decadence" of the Gothic style.</span></span></span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></div>
<div class="separator" style="clear: both; font-size: 12pt; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFj8kh4JG0NxLDRueKOy3HVHrT3wCKE3lcFOoFB1xwsyInQBej-EC8CoC2YtfwZMOgmakkVasbiYmg9qmHhZi6foplmga1gsJTaUsIie6SMzpVehSJ0niqVDoNmGqxq_kUq6xMm2YwcXI/s1600/Oxford+Divinity+scholl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFj8kh4JG0NxLDRueKOy3HVHrT3wCKE3lcFOoFB1xwsyInQBej-EC8CoC2YtfwZMOgmakkVasbiYmg9qmHhZi6foplmga1gsJTaUsIie6SMzpVehSJ0niqVDoNmGqxq_kUq6xMm2YwcXI/s400/Oxford+Divinity+scholl.jpg" width="282" /></a></div>
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<span style="font-size: x-small;">(Oxford Divinity School)</span></div>
<div style="font-size: 12pt; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></div>
</span><br />
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<br /></div>
<div style="text-align: justify;">
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Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0tag:blogger.com,1999:blog-5961129484202303989.post-17192422730374838622015-06-02T02:07:00.000-07:002015-09-14T07:04:39.696-07:00CHAPTER 4 : GOTHIC SCULPTURE<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-GB">I. The features.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The gradual disappearance of the wall frees the
sculpture of the domination of the architecture. and drives it progressively
toward the nature. The Gothic age will be in sculpture the age of the equilibrium
between the requirements of the architectural surrounding and those of the
natural pattern which, in the Renaissance, will be once again (after the
antiquity) the only pattern.<o:p></o:p></span></div>
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<b><span lang="EN-GB">1. Frame.<o:p></o:p></span></b></div>
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<span lang="EN-GB">Sculpture is not totaly free. It is framed
above and below : dais and base. Sculpture is once again submissive to the
architecture.<o:p></o:p></span></div>
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<b><span lang="EN-GB">2. Abutment.<o:p></o:p></span></b></div>
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<span lang="EN-GB">The "statue" emancipates itself a bit
of the wall.<o:p></o:p></span></div>
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<span lang="EN-GB">Furthermore, it sticks to the wall by the back.
But, sticking by the back only, the statue is free on the sides and in front.<o:p></o:p></span></div>
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<b><span lang="EN-GB">3. Faciality</span></b><span lang="EN-GB">.<o:p></o:p></span></div>
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<span lang="EN-GB">Neither frontal nor axial, the
statue is facial ...<o:p></o:p></span></div>
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<b><span lang="EN-GB">a</span></b><span lang="EN-GB">. Frontality : Frontality is archaic. We can
meet it in the Egyptian sculpture, in the Greek Kouros, in the Romanesque Virgin (below right) and first-ever Gothic (statues-column
at Chartres, below left).<o:p></o:p></span></div>
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<span lang="EN-GB">The frontal presentation of the Egyptian
Pharaoh, of the Greek Kouros, of the Romanic Virgin gave to these figures a
hieratic aspect. There are fixed in a symetric posture for the eternity and
give, on earth, the idea of divinities come from an another world.<o:p></o:p></span></div>
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<b><span lang="EN-GB">b</span></b><span lang="EN-GB">. Faciality is typical of the classical Gothic.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The Gothic statue, because of its faciality,
accesses at a beginning of move which gives it a "life". While the
frontal statue could not be seen differently than in a frontal view, so under
one perspective only, the facial statue can be looked by all the points of
view, except by back (Below : Annunciation, Reims).</span></div>
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<b><span lang="EN-GB">c</span></b><span lang="EN-GB">. Axiality : in Greek, Roman and Renaissance
sculpture (below : Apollo by Polyclete).</span></div>
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<b><span lang="EN-GB">4. Expressivity.<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-size: 12pt;">So, quite freed of the architectural confinement,
the sculpture stops to be low-relief or high relief and becomes statue. It
accesses at a relative autonomy and, by that way, became expressive. That expression
is not yet writed on the face but on the bearing (Below : Amiens).</span></div>
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<span lang="EN-GB" style="font-size: 12pt;">Yet submissive for a
part to the architecture, the sulpture shall accept some
"deformations". The statues-column of Chartres extend up according to
the column on which they are supported. But, in some way, they are freed of the
wall and tend to go in front. So they look like more to human people they
represent. The equilibrium between sculpture and architecture defines the
Gothic sculpture (Below, : Chartres)</span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The ability to look like
a natural being allows to the statue, if not to personify yet an individual
(tall or small, bald or haired), but,
at least, the human essence, what is universal, communal at all the individuals
: their humanity (Below : Zacharie, Chartres).</span></div>
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<b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">5. The symetry between the Old and
the New Testament.<br />
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<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">a. "Untidiness" : iconography of
the romanesque portal.<br />
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<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">The cloister of Moissac aligns its capitals in an evident iconographic
untidiness. The porch of the same church alludes to some scenes of the New
Testament in an almost as important untidiness. Annunciation / Visitation (it
still be acceptable), Adoration of the Magi, Presentation in the Temple, Flight
into Egypt, Death of Lazarus, Death of
the miser, lust, ...<o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 13.65pt;">b. "Chronology" of the Gothic portal (the portal of the Precursors). The Gothic portal runs through the holy Story, from
Patriarchs ans the Prophets, to the Holy Gospels, we progress toward the
Nativity (depicted by the Virgin Mary.</span></span></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">The Gothic introduces the order : chronological or symbolical ( the
symmetries between the Old and the New Testament; See later)<o:p></o:p></span></div>
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<b><span lang="EN-GB">II. The iconography : the form.<o:p></o:p></span></b></div>
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<b><span lang="EN-GB">1. The new themes.<o:p></o:p></span></b></div>
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<span lang="EN-GB">From the Apocalypse, on the Romanesque
tympanum, we pass to the Last Judgment or to the Christ in glory or to the
glory of the Virgin, on the Gothic tympanum. God stops to be that terrible
being without any report with the human being. He becomes the Father. The one
who makes the difference between right and wrong, the one who rewards or
punishes. Is that his Son has a Mother, like a human being. God has
"humanized" his divinity. However he remains a severe Judge. But the
saints and his Mother are able to influence his judgement by their prayers.<o:p></o:p></span></div>
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<b><span lang="EN-GB">2. The Gothic grammar.<o:p></o:p></span></b></div>
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<b><span lang="EN-GB">a.</span></b><span lang="EN-GB"> Signs, not symbols.<o:p></o:p></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;">The pictures : sculptures
and paints are creating together a writing made of signs, not symbols, contrary
to we understand usualy. A <i>sign</i> is a difference. A sign doesn't takes its
meaning except by its difference compared to the other signs that surround it.
The report of the <i>signifier </i>(e.g. the cruciform halo which surrounds the
Christ face) to the <i>signified</i> (the Christ) is arbitrary (it would have been
possible to associate a no-cruciform halo to the Christ, as we meet for the
other saints, but, to distinguish the Christ of the other saints, it would have
been necessary to equip the other saints with a cruciform halo, e.g.).
Whereas, in the <i>symbol</i>, the report of the <i>signifier</i> (the cross, e.g.) to the
<i>signified </i>(the Christians) is "justified" ( in that the Christians
can't be depicted by anything other : a scale or a sword which are appropriate
to the justice, e.g.). So, that Jesus inherits the cruciform halo, doesn't
have another meaning that this one : he is unmistakable with those that inherit
of the no-cruciform halo. But the opposite would have been possible.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;">The almond (or glory) surrounding a body, will indicate that body as the one of
God or Mary. Naked feet : God, Jesus, the angels, the Apostles, in order to
distinguish them from the Virgin, from the other saints or from ordinary people
(without halo and, by this way, distinguished themselves of the Virgin and other
saints which have in common the shod feet). Below, two </span></span><span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;">Apostles</span></span> (naked feet), the Virgin (halo + shod feet), ordinary people (shod feet but not halo).</span></span></div>
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<b><span lang="EN-GB">b</span></b><span lang="EN-GB">. The types.<o:p></o:p></span></div>
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<span lang="EN-GB">Some types appear progressively. They will be
present until in the works of the 16th, 17th and even 19th centuries. So, there
is a <i>Saint Peter</i> type, recognizable : some characteristics of the physiognomy,
independent of the keys which are another sign of recognition (that is :
distinction). A <i>Saint Paul</i> type, independent of the sword which is also a
distinction. A <i>Saint John the Baptist</i> type (less independent, this time, of the
sheepskin he wears).<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">Another figures are
unchanging in the Gothic writing. So, the <i>Church</i> (Virgin crowned, carrying in
his hand the Holy Grail which has received the Christ blood) opposite to the
<i>Synagogue</i> (a woman crowned with a pointed hat, blindfolded eyes (here is
something symbolic). The first brings <i>openly</i> the Christ message, message
delivered directly by God in the person of his son. The second brings the same
message, but <i>deformed</i>, fogged by the prophets, message which has not enabled to
recognize in Jesus the son of God.</span></div>
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<b><span lang="EN-GB">c.</span></b><span lang="EN-GB"> The places hierarchy : high/bottom,
right/left.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">Depending on the place of the figure, its worth is
not the same. Always, in the Tetramorph, e.g., Saint Matthew is in the high place and
on the right (of the Christ). Saint Jean is in the high place but on the left.
Saint Marc and Saint Luke are below, the first on the left, the second on the
right (of the Christ).</span></div>
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<span style="font-size: x-small;">(Saint-Loup de Naud)</span></div>
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<b><span lang="EN-GB">d.</span></b><span lang="EN-GB"> The organization of the detail.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The bases of the statues. They talk about the
statue they support. The basilisk, the asp (the death and the sin) are below
the Christ's feet who triumph of them. The saints have under them the kings
which have persecuted them and of which they also triumph.</span></div>
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<span style="font-size: x-small;">(Chartres, Central Portal)</span></div>
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<span style="font-size: x-small;">(Chartres)</span></div>
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<span style="font-size: x-small;">(Arles)</span></div>
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<span lang="EN-GB" style="font-size: 12pt;">The places, in the
church, have a signification. In the North (night and cold) are placed the <i>Old
Testament </i>episodes. In the South, the <i>New Testament</i> episodes. The numbers too,
have a signification. There is not a coincidence if the apostles are twelve :
"4" is the number of the matter (the four elements) and "3"
is the number of the spirit ( the Holy Trinity). So (4 x 3 = 12) the apostles
are the ones who import the spirit in the matter, God in the World.</span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
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<b><span lang="EN-GB">5. The symbols<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">The Wise Virgins are equivalent to the Five
Contemplations, whereas the Foolish Virgins are equivalent to the five senses
and to the concupiscence. The lion refers to the resurrection.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">The attributes are symbols : the lamb / John the
baptist ; serpent of brass and Tables of the Law / Moses ; a young boy (Isaac) / Abraham ; the Tree of
Jesse / I</span></span><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span style="-webkit-text-stroke-width: 0px; background-color: #dddddd; color: #444444; display: inline !important; float: none; font-family: 'Segoe UI'; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">saiah</span>.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB"><span style="font-size: x-small;">(Chartres, Central Portal : from the right, to the left : <i>Saint Peter</i>. He wears a crown shaped to form a conic tiara as the tiara of the 13th century popes, He carries a key which opens the paradise gates. He stands on a stone which is the one on which Jesus built his Church. Near Saint Pierre, <i>Saint John the Baptist</i>. He wears a sheepskin coat (or a camel skin coat). He carries a lamb which brandishes the Resurrection flag. Under his feet, a dragon. Then, <i>Simeon</i>, who carries the Christ. Simeon became so old that he could have seen Jesus. Then </span></span></span><span style="text-align: left;"><span style="font-size: x-small;"><i>Jeremy</i> who is the prophet of the Passion carries a crucifom halo which symbolizes the Crucifixion. Under his feet, a curious person listens to the words of the prophet. </span></span><span style="text-align: left;"><span style="font-size: x-small;">Finally, Isaïe who was the author of the prophecy regarding Jesse (Jesse who sleeps under the Isiah's feet). He carried a rod symbolizing the famous Jesse Tree, the Family Tree of the Christ).</span></span></div>
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<b><span lang="EN-GB"><br /></span></b></div>
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<b><span lang="EN-GB">6. The paint.<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">The Gothic paint is in the stained-glass. In the
books, the illumination is an imitation of the light and of the consistence of
the stained-glass.</span></span></div>
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<br /></div>
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<span style="font-size: x-small;">(Staines-glass Illumination)</span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB" style="font-size: 12pt;"><br /></span></b></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB" style="font-size: 12pt;">II. The iconography :
the content.</span></b></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB" style="font-size: 12pt;"><br /></span></b></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">The cathedral is not
only an arch or the Heavenly Jerusalem (the City of God), it is also a book.
Not a <i>Bible</i> for illitrate, it is necessary to know how to read, (as we
have just seen) to understand the iconography, but, at the contrary, an
encyclopedia which recaps and shows the totality of the knowledge (of the age);
(See Emile Mâle). The origin is the <i>Speculum majus</i> (<i>The Great Mirror</i>)
by Vincent de Beauvais which is split up in "four Mirrors".</span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></div>
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<b><span lang="EN-GB">1. Mirror of Nature (<i>Speculum
naturale</i>).<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">Nature is nothing but the incarnation of the
thought of God. He has designed and created the Nature according to his plans ;
so, the nature expresses exactly his thought. The fact remains that it is
necessary to know how read it. All the work of the "science" will be
to decode that "text". In this way, take a walnut (nothing is more
common), the <i>Saint Victor walnut</i>. First there is the green husk. It has
two meanings : it is the "humanity" of the Christ or the World.
Secondly there is the shell which has also two
meanings, in relation to the meanings of the envelop : it is the Wood of
the Cross or the sin. Finally, there is the fruit which is the hidden
"divinity" of the Christ or the God's Thought. So, All is in each
thing, and God is everywhere.</span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-size: 12pt;">There is yet the
animals. All are not symbolic. The most important show the Evangelists. They
constitute the <i>Tetramorph</i>. It is the Eagle (Saint Jean, but also the
Ascent of Christ and, among the virtues, the Contemplation). The Angel or the Man
(Saint Matthew, but also the Incarnation and, among the virtues, the Wisdom).
The Lion (Saint Marc, but also the Resurrection and, among the virtues, the
Courage). The Bullock (Saint Luke, but
also the Crucifixion of Jesus and, among the virtues, the Temperance). The
snake (or the dragon) is the devil. The elephant symbolize the Fall. The asp is
the sin and the basilisk is the death. And again, all the animals are not
symbolic. The Bullocks of the Laon cathedral are only an homage to the work
given by those animals during the building of the cathedral. Elsewhere, they
show the creative power of God (see, e.g., at the north portal of Chartres, the
Creation of the Animals).</span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span style="font-size: x-small;">(Chartres, North Portal : Left : Human people already present in the thought of God when he creates the animals : fishes and birds (right))</span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></div>
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<b><span lang="EN-GB">2. The Miror of Doctrine (<i>Speculum
doctrinale</i>).<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">So then, the cathedral is a Mirror of the Nature.
It is also a Mirror of the "Science". On its walls, all that the
science knows is showed.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB">a</span></b><span lang="EN-GB">. The practical science.<o:p></o:p></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">The work. There are the "Calendars"
describing the activities of each month linked to the zodiacal chronology.</span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></span></div>
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<span style="font-size: x-small;">(Amiens : from left to right : June (Cancer, mowing) ; July (Lion, hervet) ; August (Virgin, <span style="background-color: white;"><span style="font-family: Arial, sans-serif; line-height: 18px; text-align: left;">threshing) ;</span></span></span></div>
<br />
<span style="font-size: x-small;"> September ( Libra, grape-harvest) ; October (Scorpio, pressing of the grapes).</span><br />
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<b><span lang="EN-GB"><br /></span></b>
<b><span lang="EN-GB">b</span></b><span lang="EN-GB">. The speculative science.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span lang="EN-GB" style="font-size: 12pt;">The medieval science is not, as ours, an instrument
of domination of the nature (by the science, "become masters and
possessors of nature", as programed
by Descartes as soon as the 17th century) ; the science is the
interpreter of the Nature. And the science is taught in an exact order.
Therefore will be that organization of
the studies : the <i>Trivium</i> (grammar, dialectic, rhetoric) and the <i>Quadrivium</i>
(geometry, arithmetic, astronomy, music) ; finally the <i>philosophy</i> (or
theology). These subjects will be personified, often by an authentic scientist
(Aristote, Pythagore, Boece, etc.)</span></div>
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<br /></div>
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<span style="font-size: x-small;">(Notre-Dame-de-Paris : Geometry and Rethoric)</span></div>
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<span style="font-size: x-small;"><br /></span></div>
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<span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span style="font-size: x-small;">(Notre-Dame-de-Paris : Philosophy)</span></span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></span></div>
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<b><span lang="EN-GB">c</span></b><span lang="EN-GB">. The exclusion of the idleness.<o:p></o:p></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">If the science shows itself in the work, it is
necessary to include in its figures that paradoxical figure which shows the
idleness. It appears in the form of the Wheel of Fortune. To confide to the
happenstance to take care of our subsistence
(that is the idleness, the root of all evil.)</span></span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"><span style="font-size: x-small;">(Herrade de Landsberg. <i>Wheel of Fortune</i> in <i>Hortus Deliciarum</i>, 1159-1175)</span></span></span></span></span></span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></span></span></div>
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<b><span lang="EN-GB">3. The Mirror of Moral</span></b><span lang="EN-GB">.(<i>Speculum morale</i>)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<span lang="EN-GB">The third dimension of the knowledge
is the Moral, the science of the behavior.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB">a</span></b><span lang="EN-GB">. The Romanesque pattern.<o:p></o:p></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">There is a Romanesque pattern of the Morale : the <i>Psychomachy</i>,
by Prudence : the fight between virtues and vices, which decorate a lot of
capitals. It is an inner fight which inspires the Romanesque sculptors. The
Gothics are going to search elswhere and not the same patterns depending they
are sculptors or illuminators.</span></span></span></span></span></span></span></div>
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<span lang="EN-GB"><br /></span>
<br />
<div class="MsoNormal">
<b><span lang="EN-GB">b</span></b><span lang="EN-GB">. The Gothic patterns for illumination.<o:p></o:p></span></div>
<span lang="EN-GB">
<span lang="EN-GB" style="font-size: 12pt;">The <i>Tree of Virtues</i> and<i> The Tree of Vices</i>
(below) by Hugues of Saint-Victor and <i>The Scale of the Virtues</i>, by
Honorius d'Autun.</span></span><br />
<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span>
<br />
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<br /></div>
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<b><span lang="EN-GB">c</span></b><span lang="EN-GB">. The sculptors.<o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-GB">The sculptors do not use those patterns.
They bring into opposition, by couples, the virtues and the vices.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">With the theologians of the period, we retain
three categories of virtues :<o:p></o:p></span></div>
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</div>
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<span lang="EN-GB">- <b>The theological virtues</b> : Faith (vice :
idolatry) ; Hope (vice : despair) ; Charity (vice : avarice). These are the
virtues without which no salvation is possible.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">- <b>The cardinal virtues</b> : Temperance
(vice : intemperance) ; Prudence (or Wisdom, vice : madness) ; Courage (vice :
cowardice) ; Justice (or Obedience, vice : rebellion).<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">
<span lang="EN-GB" style="font-size: 12pt;">- <b>The other virtues</b> like, e.g., Humility
(vice : pride), Patience (vice : anger) ; Gentleness (vice : brutality) ;
Concord (vice : discord) ; etc.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44aaE78KedoTXswpvI3mTY0OrrFHaxuV1eeFcUIYm-XGNzlkWtv-7aeTJ3ik3XmQJVj-I_gsYiRKVvUXq0TFkInOxrx4IDzJmjp_vEIXD3Mpa7lRH8nUitExwFTVjnGW_qDmJghM03vA/s1600/Vertus++Charit%25C3%25A9%252C+Chastet%25C3%25A9%252C+Concorde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44aaE78KedoTXswpvI3mTY0OrrFHaxuV1eeFcUIYm-XGNzlkWtv-7aeTJ3ik3XmQJVj-I_gsYiRKVvUXq0TFkInOxrx4IDzJmjp_vEIXD3Mpa7lRH8nUitExwFTVjnGW_qDmJghM03vA/s640/Vertus++Charit%25C3%25A9%252C+Chastet%25C3%25A9%252C+Concorde.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(Amiens : from left to right : Charity/Avarice ; Temperance/Intemperance ; Concord/Discord)</span><span style="font-size: 12pt;">.</span></div>
<span style="font-size: 12pt;"><br /></span>
<br />
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<b><span lang="EN-GB">4. The Mirror of History (<i>Speculum
historiale</i>).<o:p></o:p></span></b></div>
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<br /></div>
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<span lang="EN-GB">Finally, the cathedral will be the Mirror of the
History. Not of the profane history which is the place of the nonsense, but the
only valuable history : the Holy History, reported in the <i>Old</i> and the <i>New
Testaments</i>. The point is to understand this History, that is (because of
the <i>Old Testament </i>is the announcement of the <i>New</i>) to find the
connections between the two. The saints life on one hand and the Jewish people
life on the other hand resonate across all the History. We have to grasp and to
make explicit those resonances.<o:p></o:p></span></div>
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<span lang="EN-GB">So, the Sacrifice of Isaac prefigures the Crucifixion
of the Christ. The water extracted of the stone by Moses prefigures the blood
of Jesus, escaped out of the wound made by the Longin's<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
<span lang="EN-GB"> lance.
Jonas, coming from the stomach of the whale, prefigures the Resurrection of the
Christ. And so on. The stained-glasses of the cathedral are a skilled
commentary of the <i>Holy Bible</i>.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Look at the stained-glass of Lyon (below). It
introduced some connections between the <i>Old Testament</i>, the <i>New
Testament </i>and symbols. From the bottom up :<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"> <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">- Isiah (<i>OT</i>), who has prophesied Jesus
birth from a Virgin ; the angel (<i>NT</i>) who has informed the Virgin of the
Jesus birth ; the unicorn (Symbol) which is a pure animal, that only a Virgin
can approach.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB">- The Burning Bush (<i>OT</i>) which is burning
without consuming itself ; the Virgin who gives birth without "consuming" (<i>NT</i>) ; the
Gedeon fleece which is covered by the dew without a natural reason (Symbol).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">-Abraham (<i>OT</i>) who is ready to sacrifice
his son to obey God ; Jesus <i>(NT</i>) who is sacrified on the cross in order
to save the humanity ; the Serpent of brass (Symbol) which is raised by Moses
in the desert to save the Jewish people threatened by the burning snakes sended
as a punishment.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">- Jonas (<i>OT</i>) who is spited out by the
whale ; Jesus (<i>NT</i>) who is resurrected the third day ; the lion cubs
(Symbol) which seem dead the first three days and seem coming back to life, the
third day, under the breath of their father.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB">
<span lang="EN-GB" style="font-size: 12pt;">The kladrius (<i>Antiquity</i>), a bird which is
able to tell if a patient will live or die ; the Ascent of Christ (<i>NT</i>)
who will live after death ; the eagle (Symbol) which is the bird which rises
more high than the others and which, in order to teach how to fly to its young,
loads it on its wings.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXY8g8SF1TK7CUn6aR5yuUjEWOjmOCNRMGswPbuv4eVTl7oZFl5564j-07RNGYKH3sHw6_K88w4jL0AOwDfddtC0rwuBFZTIrHbzep_60If1h2df2uq4l_yiKBmWGIPYjCf0Qko_iqeE/s1600/Partie+basse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXY8g8SF1TK7CUn6aR5yuUjEWOjmOCNRMGswPbuv4eVTl7oZFl5564j-07RNGYKH3sHw6_K88w4jL0AOwDfddtC0rwuBFZTIrHbzep_60If1h2df2uq4l_yiKBmWGIPYjCf0Qko_iqeE/s320/Partie+basse.jpg" width="127" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">( The stained-glass)</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8rxa0ymsBnBpHcYzAlqZhGJHqWxx1O3wAju0ow79RBUgkChyPa2wqNbaMcDHDPVsLgJSwjNTH7hyphenhyphenmbeuf4epUJSheW377_5X6AMrQ7jtAZZg-rXDvGAi2Jq9yyqOEdRR93hyphenhyphenOD92DSk/s1600/Annonciation-Isa%25C3%25AFe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8rxa0ymsBnBpHcYzAlqZhGJHqWxx1O3wAju0ow79RBUgkChyPa2wqNbaMcDHDPVsLgJSwjNTH7hyphenhyphenmbeuf4epUJSheW377_5X6AMrQ7jtAZZg-rXDvGAi2Jq9yyqOEdRR93hyphenhyphenOD92DSk/s320/Annonciation-Isa%25C3%25AFe.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"> (First detail : Isaïe, Annunciation, Unicorn)</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc795kV2Q3VREkWaPXbcWR3ircDeMoW7as5F4kBhARreRl8Wpjye9YFQl_GmVYt40iPAuh167Go1X6VnOza_jmgAczrFe2Z7cpo14WAB1A43xu7u1ndWs1cYE86-QIg2BDa9HETSl5z0E/s1600/Nativit%25C3%25A9-buisson+ardent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc795kV2Q3VREkWaPXbcWR3ircDeMoW7as5F4kBhARreRl8Wpjye9YFQl_GmVYt40iPAuh167Go1X6VnOza_jmgAczrFe2Z7cpo14WAB1A43xu7u1ndWs1cYE86-QIg2BDa9HETSl5z0E/s320/Nativit%25C3%25A9-buisson+ardent.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"> (Second detail : Burning bush, Nativity, Gedeon fleece)</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjxLfI8g5CCsM9qAInqsbjHbTjpG7uqIxGPjyp-OdsTinPboyfcaW3YvFbqxQjRz8YtGEUNq8XLo7Fvot4RVXB6apJosz3bDcj503FDnU9dmkbLDOhnRsUBMAxPAXD6n2FNp5DYePgLlQ/s1600/Crucifixion-Isaac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjxLfI8g5CCsM9qAInqsbjHbTjpG7uqIxGPjyp-OdsTinPboyfcaW3YvFbqxQjRz8YtGEUNq8XLo7Fvot4RVXB6apJosz3bDcj503FDnU9dmkbLDOhnRsUBMAxPAXD6n2FNp5DYePgLlQ/s320/Crucifixion-Isaac.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(Third detail : Abraham, Crucifixion, Serpent of brass)</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaAjU5_xNXX982CkX3i3o_L8HaZJesAFfMR4u6f70TW9HHQQxfnxDtGH3SLQ6GC94lK2PvBP-YrxQ9kYS0ABOMvuXNHJJViH39SiPuyGk5Lhp58jRnwPKO2uVGV36z5iph_zWYb_Og8vY/s1600/R%25C3%25A9surrection-Jonas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaAjU5_xNXX982CkX3i3o_L8HaZJesAFfMR4u6f70TW9HHQQxfnxDtGH3SLQ6GC94lK2PvBP-YrxQ9kYS0ABOMvuXNHJJViH39SiPuyGk5Lhp58jRnwPKO2uVGV36z5iph_zWYb_Og8vY/s320/R%25C3%25A9surrection-Jonas.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(Fouth detail : Jonas, Resurrection, Lion cubs)</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiboPaHwpsj74BDo6ce9gUdN-aRreg3MhlRy0o0POZFXSyitfYVrJEKT62suq91yjzDylwfxmytBOZ4QkSyIeeT-wV8Xk5W11bft9IdlIMfyAEUGkSGfp3K0CfvXOp6tbPK3bjvtluHS3w/s1600/Ascension-l%25C3%25A9gende+de+l%2527aigle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiboPaHwpsj74BDo6ce9gUdN-aRreg3MhlRy0o0POZFXSyitfYVrJEKT62suq91yjzDylwfxmytBOZ4QkSyIeeT-wV8Xk5W11bft9IdlIMfyAEUGkSGfp3K0CfvXOp6tbPK3bjvtluHS3w/s320/Ascension-l%25C3%25A9gende+de+l%2527aigle.jpg" width="320" /></a></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-size: 12pt;">(</span><span lang="EN-GB"><span style="font-size: x-small;">Fith detail : Kladrius, Ascent, Eagle)</span></span></span></div>
<span style="font-size: 12pt;"><br /></span></div>
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<span lang="EN-GB" style="font-size: 12pt;">Furthermore, each text
includes three meanings : </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;">- the <i>literal</i> or <i>historical</i> meaning (a fact is related :
"Abraham has existed"), </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;">- a <i>moral</i> or <i>tropological</i> meaning (it is the
immediate meaning of this fact : "the Faith". Abraham in spite of the
God hesitations who says "kill Isaac ! don't kill him !", obeys and
does not doubt that it is God who speaks. He does not know that God is
testing his faith, otherwise there
would not be a test,, but he believes.) </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;">- a <i>mystical</i> or <i>allegorical</i> meaning (The
Crucifixion of the Christ is anticipated in the Isaac sacrifice).</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">But the Christ life (The
<i>New Testament</i>) has to be interpreted. The legends, which are not in the <i>Book</i>,
bring that interpretation. In this way the legend of the two midwives., Zelemi
and Salome. One of them is astonished by the fact that Mary is yet virgin after
the delivery, and the other woman is skeptic. When she verifies with his hand,
his hand gets dry. It is when she pries the Jesus child for forgiveness that,
by an act of faith, his hand is cured. One of the main origins of inspiration,
a part from the <i>New Testament</i>, will be the <i>Golden Legend</i>, by
Jacobus de Voragine.</span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"></span></span><br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><b><span lang="EN-GB">5. The evolution of the
representations</span></b><span lang="EN-GB">.<o:p></o:p></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span>
<br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">We have seen the content of the Gothic
sculpture and its origins. We have now to consider, finally, its form. Not the
general features already studied, but its particular features. Especially for
some figures as, e.g., the Virgin.<o:p></o:p></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<div class="MsoNormal">
<span lang="EN-GB"><b>a</b>. Romanesque :<o:p></o:p></span></div>
<span lang="EN-GB" style="font-size: 12pt;">The Virgin in Majesty. Frontal, staid, sitted in
her throne with the Child on her knees, she is the God's throne. She is neither
feminine nor maternal.</span></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></div>
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<br /></div>
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<span lang="EN-GB"><b>b</b>. First Gothic.<o:p></o:p></span></div>
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</div>
<div class="MsoNormal">
<span lang="EN-GB">It is the beginning of the humanization of the
Virgin. In the 13th century, the Virgin becomes "human". The Child
slides on one knee and turns his face toward his mother or plays with her.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBf19MqQ1Iw7BabJ75YcUzq-M44xm2L8rCpIzVVQm3j_CdELFzh15CDpWEDcYcuIvsy9ZzKVOL5p67D0A2dUwEaZ-1w-SUd023RGLzOLMmEk9oGtbLJo-28HTOQUBh4mExD2txH9fCYk/s1600/Vierge+premier+gothique.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBf19MqQ1Iw7BabJ75YcUzq-M44xm2L8rCpIzVVQm3j_CdELFzh15CDpWEDcYcuIvsy9ZzKVOL5p67D0A2dUwEaZ-1w-SUd023RGLzOLMmEk9oGtbLJo-28HTOQUBh4mExD2txH9fCYk/s320/Vierge+premier+gothique.jpg" width="311" /></a></div>
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<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"></span></span></span><br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB"><b>c.</b> Classical Gothic.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span></span>
<br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">The Virgin mother. She stands up, carries her
son on his arm and smiles at him. The Virgin became a mother.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<!--EndFragment--><br /><o:p></o:p></span></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"></span></span></span><br />
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB"><b>d.</b> Last Gothic.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span></span>
<br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">The woman. On the 15th century, she is the
pain's Virgin, the mother who is just lost his child. The woman who suffers.
So, as soon as God becomes human, the Virgin also becomes human.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span></span>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB"><br /></span></span></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzetv2lkeyeBBEntub28BxQrhzp7hrNhTdYmPL0oZY8wEKiRBCjCWEAy3uDixIill6lUAwMM32U_vaSmmwoin1CUVo-1mCT9jVXWLvxshO2wAYq3tMq60b16g7h8c431Ndj8F0v6PdIRU/s1600/Vierge+XV%25C2%25B0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzetv2lkeyeBBEntub28BxQrhzp7hrNhTdYmPL0oZY8wEKiRBCjCWEAy3uDixIill6lUAwMM32U_vaSmmwoin1CUVo-1mCT9jVXWLvxshO2wAYq3tMq60b16g7h8c431Ndj8F0v6PdIRU/s320/Vierge+XV%25C2%25B0.jpg" width="213" /></a></span></span></span></div>
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<span lang="EN-GB"><br /></span></div>
</span></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"></span></span></span><br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB"><b>e.</b> The Virgin's life.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span></span>
<br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">The Virgin’s life becomes an essential subjet
of the writing on the portals and on the facades of the cathedrals. The most
depicted scenes are, obviously, <i>The Annunciation, the Visitation, the Death</i>
and<i> the Assumption</i>.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
</span></span></span>
<br />
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB">A very frequent subject in the tympanum is the <i>Coronation
of the Virgin</i>. That way to consider that thing is, however, questionable.
Indeed, the fact, to a man, to put a
crown on the head of a virgin, be equivalent to request to perform a wedding.
Therefore that is not his mother who is crowned by the Christ. Furthermore, we
remember a woman crowned : the Church, in front of the Synagogue, the
blindfolded woman. So, the <i>Coronation of the Virgin</i> would be, in fact,
the mystic wedding of God with the Church.<o:p></o:p></span></span></span></span></div>
<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;">
<span lang="EN-GB" style="font-size: 12pt;">That depiction turns among the time. In the oldest
formula, the crown is already on the Virgin's head. Then, an angel will put the
crown on the head. Finaly, around 1250, that is the Christ who puts the crown
on the Church's head (below, Reims).</span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoBGQsF1HpWDJL8I0KBUoXP63uZ5Glqxv5KPcRpELPFrx9_BarLkI4Xi2NlXgHtzLLB-g4pdz9pBoAljJDY2k2QDhDjCJ9p2HuKOw_xvi9aFKZtJcOB-Aq9GvvOvVbob-kKTQumK2t-o/s1600/Couronnement.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoBGQsF1HpWDJL8I0KBUoXP63uZ5Glqxv5KPcRpELPFrx9_BarLkI4Xi2NlXgHtzLLB-g4pdz9pBoAljJDY2k2QDhDjCJ9p2HuKOw_xvi9aFKZtJcOB-Aq9GvvOvVbob-kKTQumK2t-o/s400/Couronnement.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></span></span></div>
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<span style="font-size: 12pt;">The cathedral is not
only an arch in which humanity can</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">find
a refuge, it is not only the foreshadowing of the Heavenly Jerusalem, it is a
book. An encyclopedia where is reflected all the knowledge of the Middle Ages.
When, in </span><i style="font-size: 12pt;">Notre Dame de Paris</i><span style="font-size: 12pt;">, Victor Hugo titles the chapter where he
brings up the invention of the printing and the end of the medieval
architecture : </span><i style="font-size: 12pt;">Ceci tuera cela</i><span style="font-size: 12pt;"> (</span><i style="font-size: 12pt;">This will kill That</i><span style="font-size: 12pt;">), he
expresses perfectly the reality of the Gothic sculpture.</span></div>
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Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com1tag:blogger.com,1999:blog-5961129484202303989.post-19030668635782174612015-06-02T02:06:00.000-07:002015-09-18T08:43:23.891-07:00CHAPTER 5 : INTERNATIONAL GOTHIC ART AND THE RENAISSANCE IN THE NORTH<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">FIRST PART : THE INTERNATIONAL
GOTHIC</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I. Architecture.</span></b></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Two styles are sharing the second
half of the 14th and 15th centuries :</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- The Perpendicular style (in
England). The fan vault.</span></b></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></b><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSICzyJK7vZ-z_sYA4syDopwh6_6lbb9U3LaJhcb6E_wlYDHjKuhJYxAr5Oc306axsuJCsb5rxceNbLOefT6NiHqdHqGThzGhLKGaJAVd5f7zJuL8LH9ZRfSV8Xd265QxFN-qAOkZZjkl/s400/01.jpg" /> </div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
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in the rest of Europe)</span></b></div>
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<br /></div>
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<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"></span></b></div>
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqkuCUjXYm7d6Xj42SPqNm8vmXWDGl9SKuHoma5koAeakyeqOgd2vgVK16mR6JM0Pl34eaTyN4dE9f0_CkRfOQVwWxA5L67DqgRuU3xavK8FCKLKqRECD-SlV6oWy5Frzbmd_RoGqF93Y6/s400/02.jpg" /><!--[if gte mso 9]><xml>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Here and there two styles we can
name, in an anachronistic way, "baroque" or "Mannerist"
(because the baroque dates from the 17th century and the mannerism, from the
16th century). There is behind these two labels, the idea of a decline. As if
the Classical<span style="mso-spacerun: yes;"> </span>Gothic was a zenith : the
"purity" of the Gothic. Looking back, from our time, influenced by
the functionalism of Le Corbusier and his successors, there is no doubt that
the Classical Gothic , is the key of the architecture itself, because it
evacuates all that is unnecessary, in order to show<span style="mso-spacerun: yes;"> </span>only what it is necessary to the building of the church ; while
the "perpendicular" or "flamboyant" styles are only
moments of decoration. However<span style="mso-spacerun: yes;"> </span>if we do
not consider the history<span style="mso-spacerun: yes;"> </span>in the 19h
century way (Hegel, Marx) as a progression (outward and not return) toward an
ideal or some perfection nothing<span style="mso-spacerun: yes;">
</span>authorizes such value judgements.</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We will note, again, this : if the
sculpture is tending to free itself of the architecture, where it was taken,
especially during the Romanesque period, it is remaining in harmony with this
one. The curves refinement, the small columns preciosity are in line with the
refinement and the preciosity of the sculpture and the paint in the 14th and
15th centuries.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">II. Sculpture, paint : the form.</span></b></div>
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<br /></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">1. Refinement and preciosity.</span></b><br />
<br />
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEy_cWyqm9Of-O-aJT2LGiWe9VAOhmE9jZZWIOsS1F4YdOU78mgPN4r8dkQGFm0o74duBGeasUdvmvliYpAgPPL5K_aUrex5XxT_0iZKh4B_L5fpKXpNtedsDlknnpz5CMG0-UkX4_MktJ/s400/03.jpg" /> </span></b></div>
<div style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"> </span></b><!--[if gte mso 9]><xml>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Objects are small sized.
Transportable. Made in ivory, and in precious matters (gold, silver,
mother-of-pearl, black horn), chiseled in the most little detail and marked by
that "grace" which will be a distinguishing feature of the mannerism
in the 16th century. Statuettes, small diptychs or triptychs, etc., to be
used in order to the individual devotion.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. Search of depth . But refusal of
"realism": the illumination.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Paint is already in the manuscript
illuminations. The research is here. Here the innovations.</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The fact that the paint is
disconnected from architecture allows what was prohibited in the 12th century :
the digging of the wall (disappeared in the Gothic architecture) : the
perspective. Several options are tested.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">a. The atmospheric perspective.</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A "far away" is appearing
through a lightening of the sky, near the horizon line. Of course, this is not
something "realistic". The sun rays are materialized as
"rays". The landscape remains sharply defined in spite of the
distance. While instead it should have<span style="mso-spacerun: yes;">
</span>disappeared progressively in the sky. But there is two plans : one
close, another far away.</span></b></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXWAIvbvmoPrvTBgiqREy2AuyxXPu9az5yVsfWsRchf8i0zjAsyqmQTzGgbvjnTCdHdQWC3QfrfCWbNl1Y6r2Xi3vuiwk_K7bPtXqgaAMNYrsY_OcJe_bzX9_x-OkFU0hgXOmnchJ64kW4/s400/04.jpg" /> </span></b></div>
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<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">b. The diaphragm.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Another way to depict the
perspective : the addition of a diaphragm in front the scene. Below, two small
columns and a transversal beam are making a frame for the action place. We are
located in front, so there is a "far away".</span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">The method of the diaphragm improves two another
methods. The first more artificial, the second more symbolic. By the first, we
are removing the wall which masked the scene into the building. This way is
named : <i>explicit inside</i>. The second involves to install tiles onto the
ground in order to manifest that the scene is inside. This way is named : <i>implicit
inside</i></span></b><br />
<br />
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPNOrX-Zu7B1fm9CFCWwjNx8KGn3ACHH1F3p4w7xc9LrwRW84nvdMdjt3l7pH6oxsPUpnbdvw2ldLRqkaAlHZB0boAh9wa1Y2VnfYlAOdrZ0y8mWrZcIfQGjkDjKHRjIqJvzYsU9H1ezcs/s400/05.jpg" /> </i></span></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br />
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">3. When the naturalism
appeared, it was as a "mannerist" style and not as a
"realistic" style. </span><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">E.g, The Limbourg brothers
: <i>Très riches Heures du Duc de Berry</i>.</span></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxCF4qRxeEHqxy7fNJLsG26Zf7M6qUArom8YyjR_Ue-CbWgOmmqKniMQ_yHdP_e7eXCiMYz_5LlBoT0sbPxQPxP-ynj1_rgNVWQiOg7YW5y0YDNRhqBc049-v4S8Jz0gWoEA-PXb4T8vg5/s400/06.jpg" /> </span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJaT0Qk4_juU_Du1k9m2MbP9jWzuKTJJmMX11ANj_fOhnI3SQ9iE2cn_jnHF7dfADNQVSkvaIHaMg6Qk50bZ0-1zpukvA3Zrx6fm2u-uMc-RqCNSoHchvc3TOFOrGBHDF3ofqI3L9fh_JS/s400/07.jpg" /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">Of course, we can see in
this Calendar the first snow-covered landscape, the first drop shadows which
did not appear in the illuminations of the previous painters. They were showing
the human activity in work (work to be carried out in each month of the year). But
the aim was moralizing (the virtues tied to the work) and religious (fruits of
Nature are God gifts). If the Calendar of the Limbourg brothers shows yet the
working in the fields and the vine, the search of the acorns and of the wood
for the heating, it shows these things on the backdrop of a precious material.
Each painting was showing one of the Duke's castles and many scenes were Court
scenes, perfectly atheists. Their aim is to point the nobility through the
richness and particularly the elegance of the clothes, the jewellery and the
behavior.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><!--[if gte mso 9]><xml>
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</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. The altarpiece.</span></b></b></div>
<b>
</b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><br /></b></div>
<b>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">But the paint is not limited at the manuscript
illumination. In the 15th century, the altarpiece is developing and, in the
North (Belgium, Netherlands), to the detriment of the sculpture. One of the
more famous is the altarpiece of the Van Eyck brothers which is located in the
Saint-Bavon cathedral in Gent (Belgium) : the altarpiece of the <i>Mystic Lamb</i>
(below, closed then opened).</span></b> </b><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFTlC7p_VeWLwRFSBHD9nh7TsSEVu-iPsqtqW6UKW29UAaCgFz93aGvpnkQ9-FJn8DPpSfHFBSxD8_dtlGazTDjvH2sFbJn7DyiLM1jmP5hTN8R7D7xW4bbNtX0U2Kjz6YYmsS58DXyaVP/s400/08.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTys5B9dh5M61vQZS7LVvYfi0YHMM0QYtAE8rt4ow4y9zJLnLFWrsqg_OnKvTawJ7Gzo6gxJU_jFAzbod_-wIKGCBFR5NV4AXjhxWwzLPrEKCkSthcuFYWKZJFsi-zQo7dWO3mElvp6pF9/s400/09.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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</div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">III. Sculpture, paint : the content.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. The melancholy.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The 12th century is the century of
the <i>faith.</i> The believe in a God totally stranger and terrifying. The 13th
century is the age of the <i>pity</i>. The believe in a God severe (Judge and
Father) but sympathetic. The 14th and 15th centuries are the centuries of the <i>devotion</i>.
The believe in a God human, too human, dead for the humans.<span style="mso-spacerun: yes;"> </span>A God of pity. Several themes are following
from this fact.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">a. The death.</span></b></div>
<div class="MsoBodyText2" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">T<b>he
death, always present, becomes an obsessive theme. We must remember that,
between 1347 and 1350, the half of the European population ( 25 millions) is
decimated by the black plague. That scourge<span style="mso-spacerun: yes;"> </span>is still in France between 1353 and 1355. It is a threat that is always
weighing on the minds.</b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- The death is the subject matter of
many illuminations.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- The <i>Three Leaving and The Three
Dead </i>which deals<span style="mso-spacerun: yes;"> </span>the meeting of
three young people with their own dead body, is a warning that death is always
present. That story is in all the memories.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- The <i>Dance of Death </i>appears.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- In the funerary art, the <i>transi
</i>follows the <i>gisant</i>. The dead person is not depicted without the
death marks. Two levels tombs are appearing at the end of the14th century. On
the highest level, the spiritual part, the immortal part of the dead person. At
the bottom his bodily and mortal part.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83sSWJMI1W0wjDUfy70Kq1HLtzQcen0yI2d3cSOdGlIN_bmU0ZcC0prAzDZpWhNB8MFRA_9FhdjfenVpLtyG733ulgiWgurHZoyX6Nf6TfkVcadWD54j8oN9eZ3FDQKA0ww2YZMpWIOyv/s400/10.jpg" /></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></b><!--[if gte mso 9]><xml>
<w:WordDocument>
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">- Or the mourners (Below
the <i>Tomb of Philippe Pot</i>, Cireaux Abbay).</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2wHW0p_eUWcuFDpo7XBVrnIBFESRQp2SW42TyT2rYpMbsItxhi_PJBT8LV4EEoclMAkNAVgU4Lzl9WhvGPRQQOSCeyjK2PDAH5KsZggk1zTkq-ngtR-AcmsR3k1vAiMcNtE1WQnu2kaWO/s400/11.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><!--[if gte mso 9]><xml>
<w:WordDocument>
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</xml><![endif]-->
</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">b. The crucifixion.</span></b></b></div>
<b>
</b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><br /></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">On Byzantine and then Romanesque
periods, the Christ crucified is a Christ who defeats the last enemy : the
Death. On the classical Gothic period, the Crucifixion wears a dogmatic, a
pedagogic worth. At the 14th century, the idea of triumph disappeared, but the
treatment remains precious and mannerist. At the 15th century, it is a
suffering Christ, distressed who is depicted.</span></b></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><br /></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">c. The figures of the suffering
Christ.</span></b></b></div>
<b>
</b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Two figures are often confused : the
one of the <i>Christ of Pity</i> and the other of the <i>Man of Sorrows</i>.
The latter is a 15th century invention.</span></b></b></div>
<b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">-The <i>Christ of Pity</i> is dead,
half-outside of his tomb, supported (or not) by angels. He is showing his
wounds.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
</b><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><div class="separator" style="clear: both; text-align: center;">
<span lang="EN-GB" style="margin-left: 1em; margin-right: 1em;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG0YPcti1eDAnRDB5cqTdgiZSDjb3oQEJum3wO-aRjs2TdIicyaNOVw24T98xl2fhJcyuD3YRhuKBlSAbWmvOhIQnx48ZIFADnYGzF65OOE96zbL3NmQo2RGtWpuynddwvxuyud1uNJbh/s400/12.jpg" /> </span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br />
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</div>
</span></b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- The <i>man of sorrows</i> is still
alive. He is the Christ on Calvary, waiting for crucifixion.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj91sTNhjX5QDpg1AlGdx7FF-thfaP__pDtK0ceSufXkalrLPGFYCGZXo-5MpIrDUOIcZS6AVIuUWAk1Jn5NalahXGZvacXWGnNwOPorkeVRVmO1NrUEUginxWclk-jCTFp_muw-Y9lI3ir/s400/13.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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<w:View>Normal</w:View>
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</div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Here, we are far from the terrible
God on the Moissac tympanum <i>Apocalypse</i>. Far from the supreme Judge of
the classical Gothic tympanums<span style="mso-spacerun: yes;"></span>. It is
the <i>ecce homo</i>, this one who, in his humanity, has suffered all that it
is possible to suffer. And who is dead as each human dies.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">From the Romanesque ages to the end
of the 15th century, there appears to be a decline of God, a de-divinization,
which end the medieval culture that will paradoxically be continued in the
North.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"></span></b><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"></span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"></span></b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</xml><![endif]-->
</span></b></span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">
</span></b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">SECOND PART : THE RENAISSANCE IN THE
NORTH IN THE 15<sup>TH</sup> CENTURY (OR THE FLEMISH PRIMITIVES)</span></b></b></span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">
<b>
</b></span></b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b><br /></b></span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b>
</b></span></b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I. The codes.</span></b></b></span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b>
</b></span></b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b><br /></b></span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The symbolism, evident in the
medieval depiction, hides in the Nordic Renaissance. All must be interpreted.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
</b></span><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="separator" style="clear: both; text-align: center;">
<span lang="EN-GB" style="margin-left: 1em; margin-right: 1em;"><img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iDxQQvgHtkj6gAGz0VdFbZXXdhLJJIoMlNgBM64PP6K7KMPMP7CrlEj_GznTBWAhoFR9UFWOEg7paVkh-BqogAZvvkyHSFpmeYpwZQh0Y1llm5_-cbmicGeNKKmlIO8yJtwtuSbHQgeF/s400/14.jpg" width="400" /> </span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></b><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</xml><![endif]--><span style="font-size: x-small;"><b><span lang="EN-GB" style="font-family: "Times New Roman";">Church (NT) ; Temple of
Jerusalem (AT) skein of purple wool</span></b></span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<span style="font-size: x-small;"><b><span lang="EN-GB" style="font-family: "Times New Roman";"> </span></b></span><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">So, a Romanesque window
will mean the Old Testament or the Old times or the time which was before the
time : the eternity of the God's kingdom. A Gothic window will mean the New
testament or the current time. Then, a window never is a window. It is a
sign.<span style="mso-spacerun: yes;"> </span>There again, you have to know how
to read. All the difficulty remains in the fact that the symbolism is hided.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
</span></b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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<w:DoNotOptimizeForBrowser/>
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</xml><![endif]-->
</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">II. The World as an allegory.</span></b></b></div>
<b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The difficulty, in a work, is to
know if such or such object or element of the decor is a symbol<span style="mso-spacerun: yes;"> </span>INTENTIONALLY willed by the painter or
invented by the person who tries to understand the work. In the symbolism of the
beginning, not yet complete (The Maître de Flemalle, e.g. : <i>Merode Altarpiece</i>),
that problem arose. It does not arose, then, with masters as Jan (or Hubert)
Van eyck. The the portrait of Nicolas Rolin, chancellor to Philippe Le Bon in
<i>La Vierge au Chancelier Rolin,</i> e.g. (below), is spontaneously interpreted as a
portrait of a donor. In reality it is the soul of this man (dead) in front of
the Virgin, in the City of God. Indeed, where are we ? The view is perfectly
distinct from the foreground to the infinity. It is not the view of an human
look.<span style="mso-spacerun: yes;"> </span>The only being which is able to
see distinctly from foreground to infinity is God. Then, were are in the City
of God, not in our World. The paint is not depicting the Virgin in Majesty with
the donor portrait, as often.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The three semicircular arches are
three and Romanesque. Three as the Trinity. Romanesque as the Old Time. May be
as the Time which was before the Time : the eternity. So the Chancellor is
dead. He is received in Paradise by the Virgin. Here is a hided symbolism. Under
the appearance of a paint depicting a Virgin in Majesty with donor, another
scene is indicated.</span></b></div>
</b></span></b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="separator" style="clear: both; text-align: center;">
<span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12pt; margin-left: 1em; margin-right: 1em;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTH4ClTFzUDr8J9UCx15vkVqakbmXGLme4vw-If3ZUpNSUFuh2C5c00AUkuloU8QJyjxJop5DvRFSYDNbqbpWoEU0wVv4njcB5-SUeNp9qapGlaeQYGNx5kZ7Jso6Y7HVmGVK32AHoo75d/s400/15.jpg" /> </span></div>
</span></b><br /><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></b></div>
</span></b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
</span></b></b><b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The character of the Virgin in <i>The
Virgin in a Church</i> (Van Eyck, below) is not the Virgin. And the church is not a
church. She is the Church in an aedicula which is itself the idea of the
Church. This meaning does not appear without an interpretation.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Indeed, the Virgin is too tall
compared to the height of the edifice. But she has the right size for the
classical Church in an aedicula. The church itself is not a church. The light
comes from the North and this is contrary to the right orientation of a church.
So, the church is nothing but the aedicula where the Church is taking place.</span></b></div>
</span></b><div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG0YPcti1eDAnRDB5cqTdgiZSDjb3oQEJum3wO-aRjs2TdIicyaNOVw24T98xl2fhJcyuD3YRhuKBlSAbWmvOhIQnx48ZIFADnYGzF65OOE96zbL3NmQo2RGtWpuynddwvxuyud1uNJbh/s1600/12.jpg" imageanchor="1"><br /></a></div>
</b><br />
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">
</span></b></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8TN_cFQY-JTQhbcasJseCZLk-ITNB6l2NcfsO8IH0vbnt0BMa8k1QY4RQ1Ue2wDee1RxqQSsW5FDO7VCGiw6xCG5VUanpJgU_k89a2IeNf9_qgqiJ-OxGnLtk9UQgoxtR51ULMandO32i/s400/16.jpg" width="206" /></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">As well, Van Eych does not depict
(below) the husband and his wife just before their wedding night, in the
<i>Arnolfini Husbands</i>. The paint IS a marriage certificate delivered by the
painter. Only the interpretation is able to reveal that meaning.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Look at the background mirror. You
can see not only the back of the bride and groom, but also the face of the
painter and another character. So, they are located in front of the paint. Where
you are located. They are the marriage witnesses. The signature is not the
traditional "J<i>ohanes van Eyck fecit</i>" (made by Jan van Eyck) but
"<i>Johanes van Eyck fuit hic</i>" (Jan van Eyck was here). All the signs
and symbols of the paint are confirming that interpretation.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivp_HiDVYVrmgxmXm_pCTWaRZL1suoJPyXeBRtDN50b3isprzFtoIFK9rOUM9oEHJKizloHDqVwA3JtOr6Bv4bgxrLETeGXphUTHys812nGpSxxNL451tPsZUCiOWkfUVdgcgRWijM7OTd/s400/17.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if gte mso 9]><xml>
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</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">III. The Ars Nova.</span></b></b></div>
<b>
</b><br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><br /></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. The Ars Nova is a new way of
painting which is appearing in the North at the 15th century.</span></b></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. The palette expands.</span></b></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. Oil painting is used. More
luminous. With a biggest chromatic intensity. But an illusion which is not
misleading, because it<span style="mso-spacerun: yes;"> </span>saying its
illusory character and orders an interpretation.</span></b></b></div>
<b>
</b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><br /></b></div>
<b>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">IV. Toward the end of the symbolism.</span></b></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Van Eyck successors (Rogier Van
der Veyden, Petrus Christus, Dirk Bouts, Hugo Van de Goes, Hans Memling and
others) will gradually give up the symbolism. The Middle Ages is
ending. The World ceases to be the Creator's Writing decoded by the artist. It
begins to affirm itself in its autonomy as an "object" (ob-ject) for
a science which will study it. New methods will needed, new devices for its
depiction. The Italian Renaissance, already in the 14th and 15th centuries, is
working on that.</span></b></div>
</b><br />
<div style="text-align: justify;">
</div>
</div>
Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0tag:blogger.com,1999:blog-5961129484202303989.post-73196713676256158052015-06-02T02:05:00.000-07:002015-09-18T08:25:38.751-07:00CHAPTER 6 : THE RENAISSANCE IN ITALY. THE PERSPECTIVE<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;">
<br /></div>
<br />
<div style="text-align: justify;">
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<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-size: small;">I. CULTURAL DATA</span>.</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A. The medieval culture fall within a symbolic
thought. The Nature, the World are the expression of the divine thought
and<span style="mso-spacerun: yes;"> </span>the divine will, under a material
form.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">That material form hides (because the thought
is spiritual) and shows at the same time (because the material form was modeled
by the thought) this very thought.</span></b></div>
<div class="MsoBodyText">
<b><span lang="EN-GB">In the medieval culture, there is
nothing but God. The Saint Victor’s Walnut is God under different showings (see
above).</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Renaissance evacuates the symbolic thought
and prepares the scientific thought. God and World (or nature) got divorced. We
must think the world in a different way.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">B. In the 12<sup>Th</sup> century, all the
knowledge is revealed. The way to know is the <i>faith</i>. Neither the reason
nor the senses.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In the 13<sup>Th</sup> and 14<sup>Th</sup>
centuries, the foundation of the knowledge is revealed and falls within the
faith. But god has given the reason to the human people in order to allow a
most easy comprehension of this knowledge.The theology (Saint Thomas d’Aquin,
particularly) makes an effort to reconcile the two ways of knowledge : faith
and reason. “Sciences” won reserved areas and<span style="mso-spacerun: yes;">
</span>outside the faith control.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">C. In the 15th century (particularly in
Italy), the symbolic thought tend to disappear for the benefit of the
scientific thought which extends his empire (Copernicus, Polish, is studying in
Italy : The Earth is not the World Center. Galileo, soon : the Earth rotates
on the spot and around the sun. Giordano Bruno, finally : the universe is
infinite) against the religion.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">So a new way of thought is necessary in order
to think the world, and for the artists, a new representative device. It will
be : the perspective.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. The bifocal and centralized perspective :
Ghiberti.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<div style="text-align: center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXBPYwlLw2kTtdQMqzurbz3s45imqjoHVW8hFOCgqAx4o4owPA0CCyR5csWygbDYdKeJbWwYXWFB5596p8UlyNFeLGBb60CNEUodrFL1ZD2979e9YJJkahiP2i5SIQ_OEL5vJeumhLnVn/s400/01.jpg" /> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<!--[if gte mso 9]><xml>
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">2. The bifocal and
lateral perspective : Uccello</span></b></div>
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"> </span></b></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDW2W-K3kPOgPeiqM1KZoREJOC0cr-SJRDVF1LTfVEd1hvl0f2Xum9bV80dhKjdSMAWhTn8lSe3xXMzLBcc7ne_bnEakG-ue3h3rmps7zB20i0qskqTXLaQqOvMSWi85ypB9mYn4pp29Cs/s400/02.jpg" /> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<!--[if gte mso 9]><xml>
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</xml><![endif]--><b><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">3. The convex perspective : Fouquet</span></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjU7rp4-SVBkBHKZ0TYsK81AFs0Qo6iJzgHHvRW5aTjqTMRGhyJRELzh_q1Rb2NQ8fBpci8nDLVHaBJs4RazQD3tfuBNsX7mWMk6PP77lvJgMFXvxdP0zRUetXjkrmMNF1P8ZCM7UYVBcE/s400/03.jpg" /> </span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<b><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"> </span></b><!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. The mono focal perspective, discovered in
Florence between 1420 and 1450.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Political dimension : private area, public area
(From Strozzi to Côme de Médicis). The public area is the place of historia.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoBodyText2">
<b><span lang="EN-GB">When Côme de Médicis comes back to
Florence in 1434, he throw out<span style="mso-spacerun: yes;"> </span>Palla
Strozzi. This one had asked Gentile de Fabriano to paint <i>The Adoration of
the Magi</i>, a prestigious work, belonging to the most pure International
Gothic : a luxurious paint but with a<span style="mso-spacerun: yes;">
</span>complicated narrative mess.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">To affirm his difference, Côme needs another
art with opposed features : simple and sober. At least for the public areas
(because for the private places, e.g. his<span style="mso-spacerun: yes;">
</span>chapel in the Medici-Ricardi’s Palace, he uses of the same international
Gothic, with Benozzo Gozzoli). A republican art. But it is exactly that thing
the perspective allows. According Alberti, the perspective is the first mode
building a public area (a square) on which an <i>historia</i> is able to occur
(on which the History occur).</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The rise of the perspective is linked, not only
but definitely, at this political breakthrough in Florence.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-kWTEnbNfXtRnBTtdjF2hmqrIVSgbofTaO4xH1oup4Roeo65-zGyxNnaOaVvr2JNGI5OYglD6ccogIthJ__P0dvEm1eukIq-wk_XQcdVW-koLabtK0n_nwFxViVOX1c9xhlVmwQOxrglk/s400/04.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">III. Perspective meaning and conditions.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>1. La <i>construzione
legitima.</i></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Another name for the perspective is <i>construzione
legitima,</i> legitimate construction. That is to say that the perspective
gives an objective vision of the reality. A realistic vision of the world.</span></b></div>
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">It is the meaning of the Alberti’s piece of glass.
On a slab of glass, the real itself is written for an eye located at the top of
the visual pyramid.</span></b><br />
<br />
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigC5-Rnnx3VW82aUiTRCzxrtNJWdtoHuIL3QzPlgzP2gl1FP9JH9YOrQd8wP12dw7xJ6A_H1oIqW1Lc4yXfZz5aM_7nDMtwp5xq4-vli9jH0wSeLl62c5QsaEn2WUjf3667KfsYpZ9oNIg/s400/05.jpg" /> </span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"> </span></b><!--[if gte mso 9]><xml>
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">The meaning, too, of the
Brunelleschi’s <i>tavoletta</i>. The Batistery of Florence is reflected “at it
is” in the mirror. </span></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGs0QyP_K9faLafpYSYU_-9Tpx3INlktkKkngWYZKMtsr7PJknG3X68D_ZYGuiFHQ-rGHT-9xGXh6iGeMHSOrHXoZFbq0CdMg0UT9tkxEcTukl6L_FhkOaVGsh7UMqqj9sn5rSzqVQL3gy/s400/06.jpg" /> </span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"> </span></b><!--[if gte mso 9]><xml>
<w:WordDocument>
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</div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. The world without God (Panofsky)</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">With the perspective the infinity goes into the
world. It was, until that time, reserved to God, transcendent. But when the
infinity goes into the world we do not need a divinity. God is useless.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Indeed, the perspective lines which meet on the
horizon, according our vision, are in reality parallel. So, their junction is
located at infinity. The perspective, of course, do not represent the infinity,
it gives only a suggestion of infinity.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. A new vision of the world, centered on the
human subject (Francastel)</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoBodyText2">
<b><span lang="EN-GB">With the perspective, the human subject
becomes center of the world. The visible becomes visible only from a point of
view (top of the visual pyramid). The world becomes a stage on which human,
like a subject, it is to say like an actor (of the vision), is center stage.
The objects only appear by the look he has towards them (and this is at
variance with the idea of the objectivity of the perspective).</span></b></div>
<b>
</b><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<b>
</b><br />
<div class="MsoBodyText2">
<b><span lang="EN-GB">4. A vision of the world commensurable
to the human (Arasse)</span></b></div>
<b>
</b><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<b>
</b><br />
<div class="MsoBodyText2">
<b><span lang="EN-GB">It is a return to the ambitions of the
old Protagoras, so much criticized by Plato and the christian theology : human
is the measure of all things. So, the visible size of the objects decreases,
proportionally, according to the distance in relation to the human subject who
sees them.</span></b></div>
<div class="MsoBodyText2">
<br /></div>
<div class="MsoBodyText2">
<b><span lang="EN-GB"> </span></b><!--[if gte mso 9]><xml>
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<div class="MsoBodyText2">
<span lang="EN-GB">5. Refutation of the believe in the
objectivity of the perspective vision.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- First, the perspective vision is a cyclopean
vision. Perspective imply only one eye.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- Secondly, an objective vision is nothing but the
God’s vision (Van Eyck, <i>Madonna of Chancellor Rolin</i> : distinct vision,
from the first plan to the infinity revealing the things as they are. Bruegel, <i>Childre’s
Games</i> : a pan optic vision which, like a bird’s eye view, indexes
exhaustively all the games).</span></b></div>
<div class="MsoBodyText2">
<span lang="EN-GB" style="font-weight: normal;">- </span><span lang="EN-GB">The <i>tavoletta</i>, then, expresses nothing but the point of view
of the human subject located in a such place, in front of the Baptistery.
A<span style="mso-spacerun: yes;"> </span>very subjective vision.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">- Furthermore, contrary to what one may think,
the perspective is not used in order to make the architecture visible, because,
quite the reverse, in the Renaissance, the architecture has derived from the
painting.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">-The perspective is not invented in order to
make the depth visible. Another modes are used simultaneously : segregation of
plans, <i>veduta</i>. The perspective is one way among others.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Moreover, we are going to see that the
perspective is not free of anomalies. And, most importantly, we are going to
see that these anomalies are not the expression of an awkwardness. They are
intentional (see Daniel Arasse <i>L’Annonciation italienne</i>).</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<h1>
<span style="font-size: small;"><span lang="EN-GB">IV. THE “ANOMALIES” OF THE PERSPECTIVE</span></span></h1>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> 1. <i>Holy Trinity </i>(Masaccio)</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGZK4ypE3-HKjlxZiP2oDcOIUAnHNm498qLt2m5R5QXhidJKwaPfYvt7gv9KUpX1gV44XdCvExyhU1d12eGmqZtfdqaUeKsON3B1MXOg5Nbtzg7e3rQeGwmRU194ahr7svwZcqRkqMqH8F/s400/07.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></b><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The perspective laws organize this composition.
But the cross and the body of the Christ escape the rule. What is the meaning
of that anomaly ? It is this : the being who is hanging from the cross does not
belong to this world. He is not submitted to the same rules.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. Italian Annunciations</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Daniel Arasse note that a lot of Italian
Annunciations show similar anomalies. That of Domenico Veneziano (below)
present the curious particularity to show at the leak point a disproportionate
door handle.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0sNF5o4-Yyl9TZX1EAxxgMRQrCptj5VQvY_AQ5Nz96B2OJl3vVSWfcDHYk-tjRPDWFVwn7dRAuqDMFRL9KDjuNF3AV1urhYfyH2xdQXON-E4hfhEhcXw1dh0okLNMSY7OtAHydN0eg2Fm/s400/08.jpg" width="400" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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</div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In this Fra Angelico’s <i>Annunciation</i>
(below), the leak point is ... in front : on the median column. With the
consequence that we cannot take advantage of the opportunity to see the depth
normally generated by the leak of the lines.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigIiESUFIWH8sf4w1yscsEgjjOOExZuwBT4KHYeXWoNE_p8_CBJnEs1V49W-A4oOQwOUowsdXcit7LRm-kI89q42Z94uvPmcFr_Zv5hq8Gx7r75FVtKtSiIAQKKuVFPii5zDbb5DKbahy5/s400/09.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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<w:WordDocument>
<w:View>Normal</w:View>
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</div>
<div class="MsoBodyText2" style="text-align: justify;">
<b><span lang="EN-GB">In this another <i>Annunciation</i> of
Lorenzetti (below), the perspective seems correct in the lower part, (tiled
floor), of the wooden panel. All the upper part, totally golden, seems to
ignore even the fact that an object can hide another object. So, in front of the
text “<i>non est impossibile</i>” should pass a wing of the angel and the
column. Well, the text is interrupted by the obstacles and starts again after.
It is that we are not in the same world below and above. The world above does
not obey at the rules of the world below.</span></b></div>
<div class="MsoBodyText2" style="text-align: justify;">
<br /></div>
<div class="MsoBodyText2" style="text-align: center;">
<b><span lang="EN-GB"><img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgku3ZyQ8dst7t2h_zoh6gNRx5jlUQ1vQy397WRUDpKdBGVjhow91JplH0ptUfY2Hkuh_HXToon73bz6n78Pfz2eSdmuS-jJE2ZwLo_Ou31WgVow8EN_S2cryU-L7Xv5prl-tRo82SuX_Vx/s400/10.jpg" width="373" /> </span></b></div>
<div class="MsoBodyText2" style="text-align: center;">
<br /></div>
<div class="MsoBodyText2" style="text-align: center;">
<br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc2CZiOzjscVvrTXTIFh0HyKQfe9CLlrWBNKq8BMpbuE5qVItT2jYFZvzLQ2ICPJ6fpqE3ejdFu-Qa2WCwcvZhIjWeHhNe6-ckgYIyT6BEDpzkVIwzdKLgm5Y7FlXK4Jco3XxuLcD6ilsM/s400/12.jpg" /></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</xml><![endif]--><b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">In the following <i>Annunciation</i>
of Piero della Francesca, the angel and Mary are separated by a column. The
angel cannot see Mary and reciprocally. The perspective laws have allowed this
paradoxical construction. What is the meaning of this ?</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><img height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFeC0W1AxCqG7eLFmxsHAalm9aB2QLTbj68FSJ6OsndDjTUC7tZPJjDNh5mK340zhj74UQYrzrpKx6sjbvZ9gjZIcEKks7h912heamT9t-6zaTgxj6ir6Sehp-NXpeZQAPWf3nBc_vRC1p/s400/13.jpg" width="400" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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</div>
<div class="MsoBodyText2">
<b><span lang="EN-GB">Probably this one. What is an <i>Annunciation</i>
? The very fact of the <i>incarnation</i>. Because, in the very time when Mary
agrees (“<i>thy will be done</i>”), she is penetrated by the Holy Spirit and
immediately pregnant of the Saviour. But, if humans have could see the Christ,
the incarnated God, nobody can see (or represent) the Incarnation. In order to
allow an access at this event (the intrusion of the no-representable (God) in
the world made of representable things ), it was necessary to make evident the
helplessness of the perspective, which is only able to represent the things of
this world.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Consider, yet, in another register, the Adam's
creation by Michel Ange, on the ceiling of the<span style="mso-spacerun: yes;"> </span>Chapel Sixtine in Roma. The forefinger of the Creature and the
forefinger of the Creator are close but not touching. It is due to the fact
that they are not on the same plane. Adam is on the Earth and God in the Sky, in
another place. However the two bodies have a similar size. What is the meaning
of this ? Simply : God is far in the infinite space. His real size is,
according the perspective rules, immeasurably large. God is so great that its
size, however seen in the infinity, is not largest than a human body size.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7q58AOs7pDnOLVnk5MfGU12C6nWNhHaWRxAm08ABLWdH-wH9uk38OxhIpQFpLXQns-pNzgx7enUB4kawLSFY9CrR1qhcZv04ZQVW2V-rRPVEEPdDXMRo1AKm-H2RXBR73W4zzKr4lGVBW/s320/Creation+d'Adam+Vatican+Sixtine.jpg" /> </span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
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<w:WordDocument>
<w:View>Normal</w:View>
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</div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">So, the perspective is not an objective mode to
represent the world or a mode able to to represent objectively our
representation of the world. It can even be used symbolically to “figure” that
which is not in our world. It is a system which is able to express a new
relation to the world, relation in which the human becomes the subject and,
consequently, the measure.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">IV. SPACE AND TIME</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Progressively, like the space, the time is
receiving his unity. Until then, successive stages were represented
simultaneously on the same surface. In the <i>Tribute </i>of Masaccio, at the
Carmine, their are yet three moments in only one space (Jesus telling to Peter
to search the money on the shore ; Peter executing the order ; Peter handing
over the money). In the <i>Herod’s Banquet</i> of Filippo Lippi (Duomo, Prato),
where Salome is performing the Dance of the Seven Veils (in the center), she is
receiving<span style="mso-spacerun: yes;"> </span>the John the Baptist’s head
(at left) and she place this head on a table (at right).</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Leornardo da Vinci will insist on the
incongruity of that process. The same Leonardo da Vinci who will reject the
perspective in <i>The Last Supper</i>.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">V. MISUNDERSTANDING ABOUT THE ALBERTI’S
“WINDOW”</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“My first act, when I want to paint a surface,
is to draw a rectangle, with the good size, which will be used as a window,
from which I can see the subject (the historia)” Alberti <i>De Pictoria </i>1435
First Book, §19. Contrary to what one may think, there is no question of open a
window on the world. It is only a manner to built the space for a painting.
This window is a frame. And the painting, a world.</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
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</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">VI. THE FLORENTINE ARCHITECTURE</span></b></b></div>
<b>
</b><br />
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<b>
</b>
<br />
<div class="MsoNormal" style="text-align: justify;">
<b><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The painting is a world and also a pattern for
the world, because the real architectural space comes from the painting space.</span></b></b></div>
<b>
</b>
<br />
<div class="MsoBodyText2">
<b><span lang="EN-GB">The medieval palace was a<span style="mso-spacerun: yes;"> </span>palace shaped like a tower (e.g. the Palazzo
Vecchio in Florence). The Renaissance palace will be antique. So, marked by the
regularity, the symmetry, the proportion. But above all, marked by the viewing.
The eyesight tools (the perspective drawing) allow to visualise the project
before its completion or even its construction. The architecture thanks to the
perspective is firstly <span style="background-color: white;">drawn</span>, then materialized. It is the beginning of the
architectural project..</span></b></div>
<b>
</b><br />
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBNbn9R6n0U4pnTZ6gPANrWSuX9C4w9CyjLDlHVgicBdFztrzhDzi6-S0tDilGrez820dSF0XAhEVVAk7NusrLdFQUtVHizyQCA5Pcq9_iR5JgQdiHabvhoBLQsbjpwwnTJDfJz7f87Ml/s400/14.jpg" /></div>
<br />
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: x-small;"><b><span lang="EN-GB"> Medici-Riccardi's palace (Michelozzo) Florence</span></b></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: x-small;"><b><span lang="EN-GB"><br /></span></b></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: x-small;"><b><span lang="EN-GB"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0iBmTlD9Rd6gO1v7wiwhAI1vXW5eIiNrrJwUtOfUqs3FCvUeDJ8H64Bj95C19dw8FgK7yCxcdlcLWd4hFAQv33artxGWfzdTNtzbbRSwnaJ7EUWkct3oLyOX5lVOtrdtdkBaiASYvsMNh/s400/15.jpg" /> </span></b></span></div>
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<span style="font-size: x-small;"><b><span lang="EN-GB">Church St Andrews (Alberti) Mantoue </span></b></span></div>
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Jacques Rouveyrolhttp://www.blogger.com/profile/13848489116663564944noreply@blogger.com0