The theme was “French Gothic stained glass.”
The object of our study – the stained glass Windows of French Gothic cathedrals.
The subject is technological and artistic peculiarities of creating stained glass during the Middle ages
The ultimate goal of this work is to determine the characteristics and the evolution of French stained glass from the beginnings to the late Gothic.
To achieve it, we must solve the following tasks:
– to analyze the technological features of manufacture of stained glass.
– to identify the main artistic techniques of French stained glass art on the example of the most famous monuments
– to trace the evolution of stained glass in medieval France
The structure of the work corresponds to the task and consists of three chapters. In the first Chapter – “the Role of stained glass in the Gothic concept Continue reading
A new word in the art of the Western middle ages was spoken in France in the mid-twelfth century. Contemporaries called innovation “the French style”, the descendants began to be called Gothic. During the ascent and heyday of the Gothic — the second half of the XII and XIII century — coincided with the period when feudal society reached its climax in its development. A qualitatively new social phenomenon was the growth and prosperity of the cities. In its economic, class and political life they were the offspring of feudal environment, but acted against her as a revolutionary factor. The center of crafts and exchange, the city needed professional training and expertise of the members of the workshops and guilds; the development of crafts pay attention to the study of the phenomena and properties of the real world. For the prosperity of the city needed regular trading Affairs, internal market, safe roads. During the struggle of the towns against their feudal lords, which reached the top in the XII century, appeared the highest forms of city government — the city-commune and town-Rei the audience. The maturity of feudalism
The Gothic monument
There have been attempts to explain the position of the Gothic fountain, rolandosa post, etc. on the sides of the square the interests of traffic. The consideration is not evidence-based, though this fact might have had a certain amount of influence. In those days the movement and not remotely like what exists today, even in small provincial towns, as people were afraid to admit in a city of strangers. Even market trade was often conducted not in the city and outside the city walls. Crucial requirements are determined by the form of monuments. Having evolved from the architecture finials (pointed towers), the Gothic monument, and this fragile architectural member, needs to be strengthened and relationships with the environment. The architecture of the vial achieves this through frequent repetition, one and the same motive; the monument is looking for support in a larger architecture: crystal, who grew up next to a large crystal formation. As the sacristy in the Church of St. Lawrence at Nuremberg, are not able to stay without the surrounding pillars and the fountain “Shinerunner” on the main market 1385-1396 he could not stay in the middle of the square (when you restore it a little bit pushed to the middle of the square). Similarly, the fountain “Berlinrosen” in Ulm, the market fountain in the Swabian town of Urach looking for support on a larger structure. To expand on the question of the position of the Gothic monument is not possible, as in most Continue reading