By Cohen, Meredith; King of France Louis IX; Frankreich König Ludwig IX; France Roi Philippe II
This e-book bargains a unique standpoint on probably the most very important monuments of French Gothic structure, the Sainte-Chapelle, developed in Paris through King Louis IX of France among 1239 and 1248 specifically to carry and to rejoice Christ's Crown of Thorns. Meredith Cohen argues that the chapel's structure, ornament, and use conveyed the concept of sacral kingship to its viewers in Paris and in higher Europe, thereby implicitly raising the French king to the extent of suzerain, and constructing an early visible precedent for the political theories of royal sovereignty and French absolutism. through environment the chapel inside its broader city and royal contexts, this publication bargains new perception into royal illustration and the increase of Paris as a political and cultural capital within the 13th century
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A number of mendicant foundations were also established over the course of the thirteenth century. 42). 45). 51). The church windows were filled with the modish bar tracery motif of three cusped lancets surmounted by three rosettes.
The tracery patterns of the chapel windows formed a lace-like screen around the building and became familiar motifs in this architecture. 18. Paris, Notre-Dame Cathedral, interior, nave from west. Photo: © Scala / Art Resource NY. style. These layered, additive elements became characteristic of Rayonnant architecture. 24). There, monumentality was rejected in favor of lower vaults that created more harmonious proportions between the vertical and horizontal planes. The nave of the abbey church exhibits a tight coherence of parts because the vault responds descend from the springing points uninterrupted through the compound piers to the bases on the floor.
It was consecrated in 1225, two years after his death, by his son and successor, Louis VIII. 37 Moreover, the aesthetic properties of Philip’s architecture differed significantly from those of ecclesiastical architecture. Even though the king’s masons applied the techniques associated with ecclesiastical architecture (and vice versa), they neither employed the same formal elements nor worked in the same style. If ecclesiastical architecture, with its columns, shafts, pointed arches, and ribbed vaults, became increasingly anagogical, that of Philip Augustus, made of mortar and rubble coursed horizontally with wide stone blocks, was resolutely terrestrial.