Reading Comp 3

1. Cologne-Salisbury
When the idea of combining ribbed vaults and flying buttresses to counter internal, outward thrust came to fruition, the Gothic style of architecture was essentially born. With these internal forces neutralized effectively without the need of heavy walls, thin, skeletal walls were introduced and, subsequently, widely used thereafter. The use of light weight walls, which were capable of housing gaps in between buttresses, transformed the way cathedrals were built- opening up a considerable amount of space for large windows. These windows, which were often comprised of stained glass, tinted incoming light, manipulating the internal narratives and atmosphere of cathedrals. Thus, light became an important feature of the Gothic era.

Within the human psyche exists a fundamental distinction between the planes of truth and slander. Light, which humans have historically accepted as a representation of divinity, plays an important role in the Gothic era. By illuminating cathedrals, various aspects of decorative narration were emphasized- maintaining order and a sense of connection throughout the building. Probably more significant was the new found ability to illuminate large interior spaces, helping to stress and reinforce the notion of religious supremacy and infallibility. In both the Cologne and Salisbury cathedrals, where a sense of verticality is highly emphasized, the use and play of light subjugates it's visitors to a battery of illuminated symbolism- specifically the highlighted ceilings that climb and point up towards heaven through its ribbed vaults. However, where Cologne emphasizes tall open spaces unobstructed by inward arches, Salisbury focuses on tiered arches that direct incoming light.

Salisbury

Cologne

Cologne-Amiens
The "dark ages" have been used to reference the cultural identity crisis that followed the downfall of the Roman Empire. What was seen as a stagnate period of development by some, like Francesco Petrarca, ultimately became the era of religious influence. Complex cathedrals like the Amiens of France and Cologne of Germany were designed during the period of religious revival when the concept of light vs. darkness became synonymous with good vs. evil. As such, because these cathedrals were extremely innovative for their use of flying buttresses, ribbed vaults, and large windows, not only were well educated designers required in bringing these buildings to life, but so were artisans and craftsman- many of whom were poorly compensated for their services because jobs at the time were scarce; the division of wealth reflecting upon the stratification of those societies. Structurally, the Amiens and Cologne cathedrals are very similar- both employ the use of flying buttresses, tall, vertical interiors, and ribbed vaults throughout their designs. However, externally, where the Amiens cathedral focuses on cleaner, line driven flying buttresses, the flying buttresses at the Cologne cathedral are dominated by decorative stone carvings.

Amiens

Cologne-Florence
Unlike Cologne, which had light collide at the main intersection of it's two Gothic vaults to create a large body of light, Florence forced light through it's dome, successfully controlling it into a single space. The architectural choice to use a dome and reject traditional Gothic buttresses marked the beginning of the Italian Renaissance. Reinforcing the change in design, Italian architects did not recognize the aesthetic appeal of Gothic flying buttresses, and often associated them with their northern enemies. However, the dome came to symbolize the existence of the individual. Unlike other buildings that were riddled with architectural symbols of inequality, the dome came to represent the opposite- it reciprocated the ideas of those who believed in the capabilities of Man. Although maintaining the skyward focus towards the heavens, the Florence dome helped forge a perceptual bond between its worshippers and God- to be in the center of the dome was to be in the presence of a divine being.

Florence

2. Many domestic medieval interiors consisted of a large chamber/hall. Being the most prominent feature of domestic architecture at the time, medieval halls were richly decorated with wainscot, tapestries, and paintings. Based on the illustration, the woman is probably in the kitchen. Frequently a detached building, the kitchen was often found on the ground floor void of decorations as a security measure against fire. In the illustration, the woman, who's probably churning butter, is surrounded by naked walls with windows leading to the outside. According to Roth, kitchens were also located towards the back of the house, where interior decoration was less focused on- had the woman been working in some other part of the house, decoration would have been noted. Also, unlike kitchens which were sometimes on level with the ground or slightly below it (which is depicted in the illustration), other medieval interiors were slightly raised off the ground.