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Romanesque Architecture Essays

The Tomb Effigy of Jaquelin deFerriere Limestone

The Tomb Effigy of Jaquelin deFerriere Limestone, North French, late 13th century is unusual in style for the time and place in which it was created. In the 13th century, Gothic art in France consisted of more three dimensional sculpture and more of a variety in the poses of the figures than in the Romanesque period which preceded it. The Tomb Effigy of Jaquelin deFerriere falls into the transition period between the Romanesque 11th- 12th century and Gothic time-frames 12th- 15th century, which may contribute to its flat, simple, linear appearance. Its appearance is not exactly Romanesque or Gothic, though it contains features from each period. The Tomb Effigy has the Romanesque features of being flat and rectangular with much empty...

Reviews

In the 1830’s, when the study of mediaeval architecture was just beginning, the Romanesque style was described as offering “all of the characteristics of Roman architecture, in an advanced state of degeneracy.”1 Within the last few years a Cistercian monastery — Le Thoronet — equally Romanesque in all of its characteristics has been hailed as the “architecture of truth.”2 Yet, in spite of this enthusiastic reversal in taste, the interested student or amateur could find no compendium in the English language to assist him in his studies or to satisfy his curiosity about Romanesque building until Kenneth Conant’s Carolingian and Romanesque ArchUecture, 800-1200, appeared in the Pelican series in 19.59. Within a few months of its appearance, Professor Conant’s volume...

Professors Moore and Frothingham on “Gothic Architecture”

Sir :-Your rejoinder (vol. vi. pp. 478-486) to my reply to your criticism of my book calls for some further remarks from me which I herewith submit. I. Quicherat's classification of Romanesque monuments, though it may, as I have said, have its value for some purposes, does not commend itself to me for the reason that it does not take note of the fact that an archi- tectural style is always developed in some particular locality where the conditions have conspired to produce it. These conditions have never been the same in different localities. There is nothing in architecture cor- responding to the apparently spontaneous development, in different places, of the same natural flora and fauna. In assuming that there...

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