Gargoyle
A Gargoyle is a grotesquely carved human or animal figure found on an architectural structure, originally designed (believe it or not) to serve as a spout to throw rainwater clear of a building. They later became strictly ornamental and assumed many forms.
The Natural and Unnatural History of Gargoyles
The gargoyle often makes his perch
On a cathedral or a church
Where, mid eclesiastic style
He smiles an early Gothic smile
Oliver Herford
Welcome. Your are about to meet a peculiar race of creatures which inhabited the great cathedrals of the Middle Ages, proliferating between the 11th and 13th centuries. Some of their decendants have ventured away from churches, migrating to other important buildings, but they have not fared as well as those still comfortably situated in cathedral walls. If you look up you may see one now and then...
Let's go back a few centuries and find out what they are and how they came to be.
The Medieval Mind
To understand medieval sculpture you must imagine the medieval person's powerful belief in God. The cathedral was the manifestation of their faith. Every person in the community contributed something. Those with no gold to give could harnass themselves to the large carts which dragged stones from the quarry to the building site. The cathedral was to be the most beautiful structure on earth, and no task was considered too arduous for the glory of God.
The cathedral was also to be a "sermon in stone" which could be "read" by an illiterate population. Some gargoyles clearly fill this instructional purpose by illustrating Bible stories, from Eve's first reach for the apple to frightening images of eternal damnation.
But not all gargoyles were for religious instructi...
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...igures are placed next to the "giant". The act of pulling the mouth open is a threatening gesture which serves to remind us that we are vulnerable to forces larger than ourselves.
These figures were situated atop buildings of the Greeks and Romans, usually placed at the apex or corners of a triangular roof. Often they represented a figure that was essential to the use of the building, such as a religious or imaginary individual that helped to illustrate what the building was sued for, whether it be a temple of one type or another. While there is little evidence that suggests why these figures were actually placed atop the buildings, most of the evidence suggests that the reasons were either symbolic, much like the use of gargoyles for repelling evil, or for architectural balance, in light of the fact that the architecture of these cultures was incredibly grand
The original Chartres Cathedral was designed by Fulbert and lasted until 1194, when a fire destroyed almost the entire church. The townspeople pulled together to make a large contribution to the reconstruction of the cathedral (Miller, Malcolm, Chartres Cathedral, Riverside Book Company, 1980, p.5). The present Chartres Cathedral is largely the work of the late twelfth and early thirteenth centuries. However, there are substantial remains of older monuments, notably in the crypt and on the wes...
My eyes follow the jet black hands on my watch that creep more and more nigh five past six. As the big hands of the clock pass the minutes go by that guarantee relief from agony. The more that time expires, the flowers begin to wither like the hope in my heart that Hester with arriving at the cathedral due to the notice is given by the letter. The wind howls and slams into the cathedral doors giving me false hope that the women of my dreams will be walking through the door. Bending at the waist, and praying to god Hester will come to greet me I feel a breeze hit the back of my neck and reawaken from my concentration in God. As I rise from the pew, I see small women walk through the doors with a black clock and a candle whose burning wax drips down the sides, casting light that guides the way to me. Thine figure in the black cloak hands me a letter and runs away without my response.
Imagine a Christian cathedral. The image conjured up by the phrase “cathedral” is probably a massive stone building with soaring towers and spires, intricate ornamentations covering the building, and beautiful stained glass windows. If one imagined such a building in response to being asked to imagine a cathedral, one would be accurate. Why exactly are these attributes associated with cathedrals? Well, many cathedrals such as these were built during the Gothic period in medieval Europe. The Gothic style of architecture is an easily recognizable one with its unprecedentedly tall towers and wide windows. Before the Gothic style was the Romanesque style, which is represented in the traditional castle in Europe: wide, short, with thick walls and
The carvings and sculptures on the front of Westminster Palace consist of many beautiful aspects of life, such as birds, flowers, and trees. These beauty-related carvings are contrasted by the gargoyles adorning the top of the walls (Foley 185-186). Gargoyles are ugly, vicious looking creatures viewed as a representation of evil among the church and society. The stone carvings on the facade of Westminster Palace are indicative of the contradictions present between values, morals and actions of the Victorian upper class citizens.
...entrance door and archway, that had and overwhelming impact on me, these over exaggerated entrance doors, were built to awe and act as the gateway to salvation, they succeeded. Upon entering the church, the saints were lined up and down either side of the church and were lustrously painted and adorned, the cathedral with its stained glass also elumeminated the church with bright sunlight that gave the church a peaceful and serene atmosphere. While viewing the church from the outside, you tend to fixate on the towers, and you tend to divert your view skyway. The massive Gothic church, really humbles you, the enormity and size are truly overwhelming. The ornamental gargoyle sculptures placed around and throughout the rooftops of the church, really feel as if they were alive and guarding the church.
Ziggy Marley once said, “God is like the sun. When the sun shines, it shines for everyone. God is for everyone.” In the same way, Abbot Suger built the Basilica of St. Denis so that sunlight would flood throughout the building and symbolize the power of God inviting visitors into the cathedral. The Basilica of St. Denis was an artistic response to the rise of the Catholic Church’s power for it was modeled to be a physical representation of heaven, which the church heavily preached upon. (Thesis) As the basilica represented the shift from Romanesque architecture to Gothic, Abbot Suger introduced new techniques that transformed cathedrals to look more spacious and “heavenly”. (Map Statement #1-Art History) By allowing sunlight to come through the large windows, Abbot Suger instilled the Neo-Platonic idea that the sun was the physical representation of God. (Map Statement #2 –Philosophy) Also, at that time, the church was rising in power, so the new structural style of the basilica brought more converts and eventually more power to the church. (Map Statement #3 –Social Institutions) [Insert Literature Map Statement] The Basilica of St. Denis was built so that worshippers would be in awe of the “heaven-like” setting, which would cause more people to declare their faith to God and to the church.
Scott, Robert. The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral. Los Angeles: University of California Press, 2003.
“Then the High Priest ordered all uninitiated persons to depart, invested me in a new linen garment and let me by the hand into the inner recesses of the sanctuary itself, I have no doubt, curious reader, that you are eager to know what happened when I entered. If I were allowed to tell you, and you were allowed to be told, you would soon hear everything; but, as it is, my tongue would suffer for its indiscretion and your ears for their inquisitiveness.”
Thesis: Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction offers St. John the Baptist more flexibility in design and style. Still, their likeness and variations extend far beyond the realm of their design.
The structural and technical features of the story point towards a religious epiphany. The title of the story, as well as its eventual subject, that of cathedrals, points inevitably towards divinity. Upon first approaching the story, without reading the first word of the first paragraph, one is already forced into thinking about a religious image. In addition, four of the story’s eleven pages (that amounts to one third of the tale) surround the subject of cathedrals.
At last I arrived, unmolested except for the rain, at the hefty decaying doors of the church. I pushed the door and it obediently opened, then I slid inside closing it surreptitiously behind me. No point in alerting others to my presence. As I turned my shoulder, my gaze was held by the magnificence of the architecture. It never fails to move me. My eyes begin by looking at the ceiling, and then they roam from side to side and finally along the walls drinking in the beauty of the stained glass windows which glowed in the candle light, finally coming to rest on the altar. I slipped into the nearest pew with the intention of saying a few prayers when I noticed him. His eyes were fixated upon me. I stared at the floor, but it was too late, because I was already aware that he wasn’t one of the priests, his clothes were all wrong and his face! It seemed lifeless. I felt so heavy. My eyes didn’t want to obey me. Neither did my legs. Too late I realised the danger! Mesmerised, I fell asleep.
...understandable of making use of perfect architectural form as geometry, in terms of believe and as well as architecture. His design was straight to the point , making use of geometrical shape and it’s magnificent meaning which itself emphasises a perfect form and perfect centre point at its middle, which itself is a powerful remark on the focus point of the building (crucifixion spot at Tempietto and the pulpit at the Basilica) this achievement is more effective rather than using of coloured and expensive material ,gold ,sculpture ,painting ,large windows and light or other architectural elements which Baraque architecture used to bring about the attraction and highlight it’s point in the building.(the Alter of Grace at Church of Vierzehnheiligen)
This cathedral was built during the Medieval Period for the worshipers of God. To this day pilgrims come to see the pure, Gothic cathedral. The massive cathedral seems to loom overhead as if a symbol of God watching over the worshippers that visit. The earlier church burned in 1194, it was rebuilt and has gained a much more appreciated and admirable character distinction, statuary, and stained glass. The distinct character of the thirteenth century was captured, through the “Age of Faith” period. The architecture is Gothic which was very popular in the 1200s. Gothic architects created a frame of support with columns and arches so that the walls no longer need to support the ceilings, but are freed up to hold windows. The Gothic structure allows for plenty of windows. Chartres has a significant collection of medieval stained glass, with over 150 early thirteenth century windows. The windows allowed sunlight to enter the dark, Gothic cathedral in order to highlight the story of Christ through the stained glass windows told throughout history to pilgrims alike. These windows create a spiritual and promising place for thought and prayer. Stained glass was used to help teach the stories of Christ to people that were illiterate during the medieval times. While most worshippers of that day were illiterate, comprehending the symbolism of the story of Christ in each of the windows was vital and gave meaning towards adversity during the medieval ages, as they struggled through their dark and dreary lives, which were filled with hopefulness, while viewing the story through the stained glass windows. The windows are also...
The strength of a gothic building is made to reside in a finely organized framework rather than in its walls. This framework, which consists of perfectly placed piers, arches and buttresses, frees up any unessential impediment of walls and presents a light feeling. The stability of the building depends only on inert massiveness in its outermost parts, whose opposing forces counteract each other in a perfect stability of thrust and counterthrust. Gothic architecture is an artistic, strategic system of engineering, schemes for building were followed for elevations, termed quadratum (four sided) and triangulorum (three sided). 2 This system allowed them to raise their ideal structures according to symbolic measure and numbers reflecting the geometry of the New Jerusalem and its prototype, the Temple of Solomon. (Figure 1.1)
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...