Letteratura scientifica selezionata sul tema "Cathedrals, France: Amiens"

The imaginary Gothic. French cathedrals in Stanisław Wyspiański’s letters The article focuses on the role of imagination in Stanisław Wyspiański’s perception of the Gothic, which can be read out of his “French” letters to Lucjan Rydel, 19th-century poet and dramatist. During his journey to France in 1890, Wyspiański admires some Gothic cathedrals i.e. Chartres, Reims, Rouen, Amiens and personifies them metaphorically. The cathedral is a product of the imagination, she turns into amonumental theatrical stage, and its sculptures become dramatis personae of the play.

In Volume 82 (2002) of theAntiquaries Journal,the canopied benches at St Cross were described, along with a discussion of their date and patronage. This paper takes the subject further by suggesting a reconstruction of the layout of these fittings. Conclusions reached in the earlier paper are further refined: the distinctive mouldings on the frieze, benches and desks clearly demonstrate that all three elements are integral to the same work and not added to preexisting benches, as previously argued. Further research suggests that the imagery and style of the frieze at St Cross had little impact on the aesthetic of the works patronized by Bishop Fox in Winchester Cathedral. Instead, parallels are drawn between the St Cross frieze and other modes ofall'anticawork in France, including the celebrated Renaissance stalls from the chapel of the archiepiscopal palace at the Château de Gaillon (Eure) and the cathedral stalls at Amiens (Somme). It has also become apparent that there is no other extant work in England that directly parallels the frieze at St Cross, and that the nearest analogue is the stallwork from Gaillon.

Abstract In his liturgical commentary Rationale divinorum officiorum, the thirteenthcentury writer Guillaume Durand describes a special, “antique” way of singing sequences called “neumatizing” (“neumatizare”). According to Durand, a sequence could be neumatized either by singing certain phrases melismatically or by vocalizing the entire sequence without words. The chief focus of this investigation is the identification of which sequences were still being neumatized after the decline of that practice around 1100, where and at which feasts they were sung, and why. The evidence suggests that neumatizing was especially cultivated in northern France during the twelfth and thirteenth centuries, especially in the cathedral towns of Rouen, Laon, Cambrai, and Amiens, as well as at various religious institutions in Metz, Andenne, Chichester, and Bamberg. The liturgical period of Advent, Christmas Eve, the Feast of John the Evangelist, and masses celebrating patron saints were the most typical liturgical occasions where neumatizing took place. The rationales for the singing practice appear to have been manifold, ranging from the practical and mundane to the spiritual and sacred. Motives for neumatizing include improving preexisting structures for purposes of fulfilling expectations about genre; using musical responses to highlight poetic topoi; lending solemnity and symbolic meaning to important liturgical feasts; and honoring ancient traditions while resisting some of the newer trends found with late examples of the genre.

An imaginary walk around the cathedral of Amiens in France. A virtual discussion between two CALLers who have a lot in common, but whose paths did not cross frequently. They discuss a number of topics and issues in CALL research such as academic evaluation, the pressure to publish, research design and changing roles.

This ambitious book offers new perspectives on the role of vegetal ornament in medieval church design. Focusing on an extensive series of foliate friezes articulating iconic French monuments, such as Cluny III, Amiens Cathedral, and Mont-Saint-Michel, it demonstrates that church builders strategically used organic motifs to integrate the interior and exterior of their structures, and to reinforce the connections and distinctions between the entirety of the sacred edifice and the profane world beyond its boundaries. Mailan S. Doquang shows that, contrary to widespread belief, monumental flora was not just an extravagant embellishment devoid of meaning and purpose, or an epiphenomenon, but a semantically charged, critical design component that inflected the stratified spaces of churches in myriad ways. The friezes encapsulated and promoted core aspects of the Christian faith for medieval beholders, evoking the viridity of the paradisiacal garden, Christ as the True Vine, the Eucharistic wine and ritual, and the golden vine of the Temple of Jerusalem, originally built by the wise King Solomon. By situating the proliferation of foliate friezes within the context of the Crusades, moreover, this study provides new insights into the networks of exchange between France, Byzantium, and the Levant, and contributes substantially to the “global turn” in the field of medieval art and architectural history.

Abstract In the depiction of September for the Très riches heures du due de Berry, the château of Saumur towers like a fairy-tale castle over peasants harvesting the vines in the fields below. The castle is still there, restored in the 1930s by using die Très riches heures as a model, but through this image we travel into a very different world. Part of a sumptuous work commissioned by a powerful royal prince at a time when France was virtually at its lowest point of chaos and depression in the late Middle Ages, it is a profoundly ambiguous scene. Apparently all is still and the world is in order and harmony. Yet this was a period which saw a deep structural crisis which swept across French society, accompanied by war and destruction. The period covered by this book saw the last crusades led by a king of France, the destruction of the most serious heresy to face the Western Church in the Middle Ages, the foundation of the University of Paris, the building of the cathedral of Amiens, the music of the ars nova in the age of Guillaume de Machault and of Guillaume Dufay at the court of Burgundy, and the unique if brief public career of Jeanne d’Arc.