(749,16,'2011-03-21 18:47:38','2011-03-22 00:47:38','<p style=\"text-align: center\">&nbsp;</p>\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg )</p>\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\n\n<!--more-->\n\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\n\n&nbsp;\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>\n\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\n\n&nbsp;\n\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\n\n&nbsp;\n\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, an idea that future generations should consider.\n\n&nbsp;\n<p style=\"text-align: center\">WORKS CITED:</p>\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\n\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\n\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\n\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-4','','','2011-03-21 18:47:38','2011-03-22 00:47:38','',743,'http://jeanatacc.com/2011/?p=749',0,'revision','',0),(750,16,'2011-03-21 18:48:26','2011-03-22 00:48:26','<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg )</p>\r\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\r\n\r\n<!--more-->\r\n\r\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\r\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\r\n\r\n&nbsp;\r\n\r\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\r\n\r\n&nbsp;\r\n\r\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, an idea that future generations should consider.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED:</p>\r\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\r\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\r\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\r\n\r\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\r\n\r\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\r\n\r\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-5','','','2011-03-21 18:48:26','2011-03-22 00:48:26','',743,'http://jeanatacc.com/2011/?p=750',0,'revision','',0),(751,16,'2011-03-21 18:54:25','2011-03-22 00:54:25','<p style=\"text-align: center\">&nbsp;</p>\n<p style=\"text-align: center\">&nbsp;</p>\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg)</p>\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\n\n<!--more-->\n\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\n\n&nbsp;\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\n\n&nbsp;\n\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\n\n&nbsp;\n\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, certain things within a time period, no matter how short-lived the renaissance, that future generations should consider.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">WORKS CITED:</p>\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\n\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\n\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\n\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-autosave','','','2011-03-21 18:54:25','2011-03-22 00:54:25','',743,'http://jeanatacc.com/2011/?p=751',0,'revision','',0),(752,16,'2011-03-21 18:49:00','2011-03-22 00:49:00','<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg)</p>\r\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\r\n\r\n<!--more-->\r\n\r\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\r\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\r\n\r\n&nbsp;\r\n\r\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\r\n\r\n&nbsp;\r\n\r\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, an idea that future generations should consider.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED:</p>\r\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\r\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\r\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\r\n\r\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\r\n\r\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\r\n\r\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-6','','','2011-03-21 18:49:00','2011-03-22 00:49:00','',743,'http://jeanatacc.com/2011/?p=752',0,'revision','',0),(753,16,'2011-03-21 18:51:13','2011-03-22 00:51:13','<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg)</p>\r\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\r\n\r\n<!--more-->\r\n\r\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\r\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\r\n\r\n&nbsp;\r\n\r\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\r\n\r\n&nbsp;\r\n\r\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, certain things within a time period, no matter how short-lived the renaissance, that future generations should consider.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED:</p>\r\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\r\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\r\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\r\n\r\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\r\n\r\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\r\n\r\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-7','','','2011-03-21 18:51:13','2011-03-22 00:51:13','',743,'http://jeanatacc.com/2011/?p=753',0,'revision','',0),(754,16,'2011-03-21 18:52:49','2011-03-22 00:52:49','<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg)</p>\r\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\r\n\r\n<!--more-->\r\n\r\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\r\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\r\n\r\n&nbsp;\r\n\r\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\r\n\r\n&nbsp;\r\n\r\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, certain things within a time period, no matter how short-lived the renaissance, that future generations should consider.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED:</p>\r\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\r\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\r\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\r\n\r\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\r\n\r\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\r\n\r\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-8','','','2011-03-21 18:52:49','2011-03-22 00:52:49','',743,'http://jeanatacc.com/2011/?p=754',0,'revision','',0),(756,9,'2011-03-23 22:12:48','2011-03-24 04:12:48','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\r\n<p style=\"text-align: center;\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\r\nAcclaimed for its beauty and splendid architecture, Hagia Sophia, a Byzantine monument now preserved as a museum, has survived centuries of attack, religious riot destructions, and multiple transformations.  <!--more-->Hagia Sophia was built in Constantinople, now Istanbul, by the emperor Justinian in 532 originally as a Christian church.  However, because of the appealing location and trade that drove the city to success, Constantinople was constantly attacked and ultimately claimed by the Turks in the fifteenth century (Istanbul).  Thus, Hagia Sophia was converted into a mosque used for almost 500 years until it was finally transformed into a museum in 1935.  Despite these strenuous events on the “Great Church” throughout the years, it continues to stand just as strong and as elegant as it was viewed in its prime.  It has been an inspiration for modern architectural style used for grand buildings as well as marking the gradual rise to Christianity throughout the world. Hagia Sophia should therefore be acknowledged and saved for future generations for its importance in the development of society through architectural style and religious beliefs.\r\n\r\nHagia Sophia became the jewel of early Christianity.  “It was by far the largest and most splendid religious edifice in all of Christendom” (Eastern).  Originally named Megale Ekklesia (the Great Church), Hagia Sophia also took on the name “Holy Wisdom”.  Emperor Justinian made sure that his creation would be the most unique and magnificent church of all the early Christian churches.  He succeeded as “the finest and rarest materials from the four corners of the empire were brought to Constantinople to be used in the construction of Hagia Sophia” (Altan).  Altan further describes the splendor with a revolutionary architectural style—the dome.  The dome was a representation of “the vault of heavens” and thus introduced a quasi-liturgical feature to the architecture.  The dome was placed atop the building, 210 feet above the floor with a diameter of 110 feet, which was thus supported by four strong piers.  Light is admitted into the interior through forty windows on the dome.  This 260 x 270 foot grand structure unfortunately had to constantly be repaired because of natural disasters such as earthquakes (Altan).  However, the invasion of the Ottoman Turks concluded the Christian hold on the Hagia Sophia and further reconstruction and transformation was done to convert it into a mosque.  Despite the transformation, Hagia Sophia continues to influence many Christian and Islamic architectural buildings today.\r\n\r\nAs Christianity continued to spread throughout Europe, much of the spiritual and political excitement was centered on the city of Constantinople, the capital of the Byzantine and Ottoman empires.  After officially declaring Christianity as the state religion, the emperor Constantine helped spark the beginning of holy Christian buildings across the empire (Churches 125).  Because Christians were very precise on building large, enclosed spaces for worship, the basilica, previously used in Rome, was thus reintroduced to architecture during this period.  “Basilicas were large, rectangular structures with high, vaulted roofs of timber beams supported by columns” (125).  Later, Roman influences in architecture reappeared in churches.  The famous Hagia Sophia, started using the domed structure.  Also, because Christianity was rapidly growing and the desire to be acknowledged separately from paganism increased, Christians intricately designed the interiors of the churches built with colored marble, detailed mosaics, and grand paintings. With the thought of honoring God with the richness of the decorations, they “also reflected the growing wealth and power of Christianity” (126).\r\n\r\nWhen Hagia Sophia was built in the sixth century, the role of Christianity was changing and shaping moral and cultural values of society.  Hagia Sophia was typical of its era because of the architectural style it was built upon.  Christians wanted to separate from the pagan temples that were either non-Christian or polytheistic (Churches 125).  Therefore, they adapted Roman architectural techniques which can be observed today.  Constructing structures and elements of Roman architecture was the general idea of building Christian buildings, and because the dome was first introduced in Rome, Hagia Sophia had fit into the cultural context of religious architecture.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years until St. Peter’s Basilica was built in Rome (Altan).  Also, because of such a large building and the design for a huge dome, new ideas were implemented to secure its stability.  This marks more innovative architectural style for this century as Hagia Sophia was the first structure to be designed with unfamiliar techniques despite Roman influence.  Hagia Sophia continues to awe countless tourists and locals today of its unique beauty and grandeur.\r\n\r\nDuring this time, Hagia Sophia was very appealing to other states and empires and was attacked multiple times.  It was not until the Ottoman Turks was the reign of Christianity diminished and the cathedral was turned into a mosque.  The Hagia Sophia was considered to be the center of religious life in the Eastern Orthodox world and was respected for its intricate design and interior richness (Eastern).  Hagia Sophia was praised for the brilliant architecture and beauty of such a religious place of worship whether it was for the Byzantines or the Turks.  We continue to see this praise throughout the centuries as it still stands proudly in Istanbul.\r\n\r\nWith such a monumental and historic element of early Christianity and architecture still existent in the twenty-first century, it is practically impossible for people to miss and not love what their eyes show them.  Today, Hagia Sophia is now preserved as a museum where the ruins and remains that bear characteristics of the fifth and sixth century can be viewed by the public (Altan).  People all over the world visit this museum to view the detail and the artistry of the architectural building.  It has risen in popularity throughout the years in Turkey.  Also, because of its design, architects today still study Hagia Sophia for inspiration and further influences in Christian and non-Christian religions all over the world.  Altan praises, “[Hagia Sophia] should be one of the first things to see on your trip to Istanbul.”  He further suggests, “Make sure you visit the second mezzanine level to see the splendid Byzantine mosaics, and get a birds eye view of the insides of the church.”  We can see that although it has been 1500 years since the construction of Hagia Sophia, it is still widely admired for its architectural and historical influence.\r\n\r\nAfter viewing many pictures of both the interior and exterior of the museum, I now have a desire to visit Istanbul for this spectacular, historical monument.  I believe it really portrays its elegance and power of religion as it has survived for so many years despite multiple repairs and transformations.  I was amazed that mankind has been able to maintain Hagia Sophia as it is the oldest surviving church.  I believe it should still be preserved for the future generations to also be given the opportunity to see such a magnificent spectacle that has been so influential and significant to our history.\r\n\r\nChristian buildings continued to be built all around the world with similar ideas in mind to that of Hagia Sophia.  Among these famous buildings is the massive St. Peter’s Basilica in Rome that was initially built by Constantine during the fourth century and rebuilt during the Renaissance (St. Peter’s).  Hagia Sophia was also initially founded by Constantine around the same time period as he was rebuilding his Byzantine empire.  Secondly, Hagia Sophia was rebuilt to its structure that stands today, like St. Peter’s Basilica.  Because of the influence of Roman architecture during Justinian’s reign, both buildings constructed domes supported by four piers (St. Peter’s).  We can understand by these similarities that Christians wanted to create the “heavens” for those who came to worship.  The dome has been influential to many religious edifices throughout the years and these two have continued to earn praise world-wide.  Lastly, the immense size of both Hagia Sophia and St. Peter’s Basilica makes it easy to gain fame.  Both have acquired the title of the largest church in the world.  People all over the world gather at the architectural design and richness inside and out, with the enormous size of a historical monument drawing their attention in.  Hagia Sophia and St. Peter’s Basilica have both been acknowledged for their beauty and religious history as they are major relics of early Christianity that still stand today.\r\n\r\nDespite their similarities, both still hold true to their unique characteristics.  Unlike St. Peter’s Basilica continuing to stand as a church, Hagia Sophia was converted into a mosque and later into a museum.  Hagia Sophia was also not built over a saint’s tomb.  “St. Peter\'s Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried” (St. Peter’s).  This early Christian church was strictly used for Christianity with 140 statues of saints surrounding the St. Peter’s Square (St. Peter’s).  Hagia Sophia was limited in statues in the exterior and mainly focused on the dome.  Although both structures used the dome, Michelangelo uniquely designed the dome to be a parabola rather than a hemisphere.  Architectural styles throughout the centuries have illustrated the architects’ dreams to portray to the public.  Hagia Sophia and St. Peter’s Basilica both have their own unique tastes that have given them their name.\r\n\r\nHagia Sophia is the oldest church that has historically been a part of early Christianity and non-Christianity.  It has provided a place for people to worship and a place for architects to be influenced by.  The influences of religious buildings today are evidences of the impact that Hagia Sophia has made to civilization.  It should be maintained for future generations to view the intricate detail and love for such a spectacle in history despite the multiple transformations.  It’s strength of still standing today has proven it’s capacity to live on and continue its influences to society.\r\n\r\n<!--more-->Works Cited\r\n\r\nAltan, Al.  “Hagia Sophia.”  <em>Hagia Sophia</em>.  Focus <a title=\"Mediterranean\" href=\"http://www.focusmm.com/\">Mediterranean</a> Magazine.  2007.  Web.  28 February 2011.              <a href=\"http://www.focusmm.com/civilization/hagia/sofia.htm\">http://www.focusmm.com/civilization/hagia/sofia.htm</a>.\r\nI used this website to help me describe Hagia Sophia.\r\n\r\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed. Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nI used this reference to help me with the historical context and its influences.\r\n\r\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 18 Mar. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\r\n\r\nI used this reference to explain how society had received Hagia Sophia and to further convince its significance.\r\n\r\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen  Christensen  and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this to help me describe the setting and some historical context occurring during the time period.\r\n\r\nKarabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34%0924600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34            24600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this referenced to help me convince its significance for the future.\r\n\r\n&nbsp;\r\n\r\n“St. Peter’s Basilica, Rome.”  <em>Sacred Destinations. </em>Sacred Destinations.  2005.    Web.  9 March 2011.\r\n\r\n<a href=\"http://www.sacred-destinations.com/italy/rome-st-peters-basilica\">http://www.sacred-destinations.com/italy/rome-st-peters-basilica</a>.\r\n\r\nI used this website to help me compare St. Peter’s Basilica to Hagia Sophia.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">&nbsp;</p>','Hagia Sophia','','publish','open','open','','hagia-sophia','','','2011-03-26 17:12:48','2011-03-26 23:12:48','',0,'http://jeanatacc.com/2011/?p=756',0,'post','',8),(757,9,'2011-03-21 19:46:40','2011-03-22 01:46:40','','hagia sophia','','inherit','open','open','','121388-004-a907a60a','','','2011-03-21 19:46:40','2011-03-22 01:46:40','',756,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/121388-004-A907A60A.jpg',0,'attachment','image/jpeg',0),(758,9,'2011-03-21 19:55:30','2011-03-22 01:55:30','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" />\n\n<a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a>','Hagia Sophia','','inherit','open','open','','756-revision','','','2011-03-21 19:55:30','2011-03-22 01:55:30','',756,'http://jeanatacc.com/2011/?p=758',0,'revision','',0),(759,9,'2011-03-21 19:55:47','2011-03-22 01:55:47','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>','Hagia Sophia','','inherit','open','open','','756-revision-2','','','2011-03-21 19:55:47','2011-03-22 01:55:47','',756,'http://jeanatacc.com/2011/?p=759',0,'revision','',0),(760,9,'2011-03-21 19:55:52','2011-03-22 01:55:52','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>','Hagia Sophia','','inherit','open','open','','756-revision-3','','','2011-03-21 19:55:52','2011-03-22 01:55:52','',756,'http://jeanatacc.com/2011/?p=760',0,'revision','',0),(761,9,'2011-03-21 19:56:16','2011-03-22 01:56:16','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"477\" height=\"307\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>','Hagia Sophia','','inherit','open','open','','756-revision-4','','','2011-03-21 19:56:16','2011-03-22 01:56:16','',756,'http://jeanatacc.com/2011/?p=761',0,'revision','',0),(762,7,'2011-03-13 10:44:02','2011-03-13 16:44:02','The Palatine Chapel in Aahen, Germany, constructed between 792 and 814 A.D., is revered as an example of the Carolingian era with influences of the Classical, Byzantine and Pre Romanesque eras. The majesty and grandeur of this Chapel authenticates the power of Charlemagne, Emperor of the Holy Roman Empire, as an important part of Charlemagne’s palace at Aahen. The history of this grand structure which includes: the part it plays in the development of the Carolingian style and the incorporation of the Classical, Byzantine and Pre Romanesque eras, the connection to a venerated world leader, and the connection to a developing and changing Christian way of life, it is imperative that the Palatine Chapel in Aahen be preserved in this time capsule for posterity as a way to pass down a legacy that, if not preserved, will be lost forever.<!--more-->\r\n\r\nThere is evidence of two restorations; one in 983 and one in 1881that added Gothic and Renaissance additions to the Chapel. (Pelican page 47) Odo of Metz, acknowledged as the architect of the palace and the chapel was praised by Eginhard, Charlemagne’s biographer when he described the octagonal central space which conveys an unrelenting feeling of “compartmentation,” creating a space unlike an ordinary church of its time. It is also noted that the chapel was originally envisioned as a tomb house by Odo. (Conant page 50) And, indeed, Charlemagne’s remains are located in the Chapel.\r\n\r\n[caption id=\"attachment_623\" align=\"aligncenter\" width=\"277\" caption=\"View of Octagon and chandelier in the Palatine Chapel                               \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20124-004-BA5EECC1.jpg\"><img class=\"size-full wp-image-623\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20124-004-BA5EECC1.jpg\" alt=\"View of Octagon and chandelier in the Palatine Chapel\" width=\"277\" height=\"300\" /></a>[/caption]\r\n\r\nhttp://media-3.web.britannica.com/eb-media/24/20124-004-BA5EECC1.jpg\r\n\r\nInspired by Justinian\'s 6th Century San Vitale at Ravenna Church a Byzantine style construction, the Palatine Chapel offers a Middle Eastern and Oriental impression with its octagonal shape, striped arches, marbled floors, rich mosaics inlayed with gold, and the ambulatory.  Materials used in the construction of the Palatine Chapel included stone, marble, glass, stucco, and wood.” (Conant page 43).  A mosaic-faced dome constructed as a series of groin vaults opposite the entrance, on both levels, was the sanctuary. High quality brass is used extensively in decorations and as part of the architecture; doors and hand rails at the clerestory level are only a few examples. The mosaics depict Christ surrounded by the twenty-four Elders of the Apocalypse (see image) heavily adorned in gold. The massive circular brass chandelier, measuring more than fourteen feet in diameter was a gift from Holy Roman Emperor Frederick I (Barbarossa) in the twelfth century.\r\n\r\nFrescoes destroyed by fire were replaced with a mosaic in 1882 and have the same stylistic quality and iconoclastic representations as the original fresco.  The Octagon is topped off with cupola, rising 102 feet above the floor and for centuries, the tallest in Europe for many centuries. The church measures “about 300 feet on the principal and transverse axes.” (Conant) On the lower level an ambulatory with dark sandstone ceiling in a groin vault construction surrounds the octagon. Those vaults, remarkable for the absence of transverse arches—Odo’s own innovation—are supported at the angles of the octagon on large piers that also carry a semicircular dividing arcade. The upper level of the ambulatory is roofed with a ring-shaped barrel vault and is separated from the octagon by a screen of two pairs of superimposed marble, porphyry, and granite columns within wide arched openings. At right angles to the main axis of the Chapel, and reached at both levels through the sanctuary, were once mirrored north and south annexes.\r\n\r\nAt the time of the construction of the Palatine Chapel Charlemagne had been expanding his kingdom by conquering large territories; even venturing into Spain to support the natives of Spain in their efforts to remove Arab control. Charlemagne organized the Marca Hispanica (Spanish March) across the Pyrenees and retook Girona in 785 and Barcelona in 801, creating a stable safeguard from future Muslim aggression an established Frankish control in Iberia.\r\n\r\n[caption id=\"attachment_631\" align=\"aligncenter\" width=\"300\" caption=\"Charlemagne’s Empire\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls.gif\"><img class=\"size-medium wp-image-631\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls-300x260.gif\" alt=\"\" width=\"300\" height=\"260\" /></a>[/caption]\r\n<p style=\"text-align: center\"><a href=\"http://www.fsmitha.com/h3/map04chrls.htm\">http://www.fsmitha.com/h3/map04chrls.htm</a></p>\r\nThis campaign resulted in a buffer protecting the Empire from the Muslims as well as adding to Charlemagne’s conquests. And with this the empire enjoyed a relative calm.  The political elements of the empire created the feudal society that was to dominate the dark ages.  Frankish aristocrats were selected by the ruler, Charlemagne, as nobility over a given province and representatives of the central authority of the realm. With this title came executive responsibilities, judicial authority, and military control. For this service, the counts were awarded estates and, through the profits of the estates and their position, more wealth. As the Empire expanded the political, social and economic landscape changed, at least for the wealthy noblemen and the empire.  Trade routes were established, a marked emphasis on education, music and poetry gained new audiences and there was discord between the Byzantine (dominant language was Greek) and the Roman Churches (dominant language was Latin). Veneration of icons (iconoclasm) was condemned across all of Christendom.  However, the poor of the realm continued their lives as before; at the mercy of his overlord, his King, and Mother Nature. They toiled to grow crops, raise livestock, and scratch out their living.  For them, nothing had changed.  In the period between the 700 and 1000 A.D., also known as the dark ages, Islamic culture and the Byzantine civilization thrived resulting in societies that surpassed the European developing cultures vastly.   In Europe, peasants, nobles, and clergyman labored passed the downfall of the Roman Empire, reinventing their worlds. During this time in Europe, there is a marked disinterest in scholarly pursuits or academic work, creativity and advancements in arts, and no science. Though it is noted that, “there were scholars who were desperately trying to keep learning alive.” (Kries) A glaring counter point to the Classical periods; juxtaposed against the early Middle Ages, Rome and Greece give off a more radiant impression, even in the worst days of Roman and Greek history.\r\n\r\nArchitectural fervor gripped the Church with an estimated new-build or restored religious structures to include 16 cathedrals and 232 monasteries during Charlemagne’s reign. Was this ambitious undertaking directly attributable to Charlemagne? Indirectly and through his associations with clerics like Angilbert, Charlemagne’s “friend and advisor, he did cause the great construction of religious building because, as Stalley states, “The relative stability which these vast territories enjoyed was to a large degree the product of Charlemagne’s ferocious military energy and the wisdom of his administration, a stability which helped to nourish the more grandiose architectural ambitions of the age.” (Stalley, page 37, 38)  It is also noted that when he came across ruins of a Church in ruins in his travels throughout the vast Empire, Charlemagne often ordered church officials to rebuild the “sacred edifices.”\r\n\r\nOne of Charlemagne’s endeavors was the Palatine Chapel. This building is not, as it might seem upon first blush, a replica of Roman construction but there is sophistication in its style and execution which scholars find a creditable heir to the works in Antiquity. Though it does resemble S. Vitale in Ravenna, the Palatine Chapel is more Roman than Byzantine and historians note these influences of ancient Roman there are certainly contemporary influences of Visigoth, Moorish, Byzantine and even Armenian. The overall design is much more complex than that of other churches of the day.  One of the most important Carolingian contributions to Western architectural traditions is the addition of the westwork to the church.\r\n\r\nCharlemagne’s own biographer, Einhard, had this to say about the Palatine Chapel: “[...] hence it was that he [Charlemagne] built the beautiful basilica at Aix-la-Chapelle, which he adorned with gold and silver and lamps, and with rails and doors of solid brass. He had the columns and marbles for this structure brought from Rome and Ravenna, for he could not find such as were suitable elsewhere. [...] He provided it with a great number of sacred vessels of gold and silver and with such a quantity of clerical robes that not even the doorkeepers who fill the humblest office in the church were obliged to wear their everyday clothes when in the exercise of their duties. “(Einhard) But more currently, praise comes from both lay and professionals in the architectural field. Dr. Paul Frankl (1880-1962) “Der Meister von Aachen ist ein vorzüglicher Techniker, die Kirche ist in allen Teilen gewolbt, er beherrscht Kreuzwolbung, Tonne und Kuppel, er arbeitet so solid, da der Bau heute noch keine Sprunge hat.” Translation:  “The Master of Aachen is an excellent technician, the church is vaulted in all parts, he dominated Kreuzwolbung, barrel and dome, he works so solid, because the construction still has not cracked.” (Frankl, page 18) Robert Stalley commented, “The design was simplified, however, and the Carolingian composition lacks the subtlety of the curved exedrae (architectural recess or niche) found in the Byzantine-inspired model.” Stalley continued, “Although frequently copied in later centuries, it was an exceptional monument…” (Stalley page 40)\r\n\r\nThe writer’s first impression was one of amazement but after more research into this impressive example of Early Christian Architecture and its connection to Charlemagne, a monumental figure of his time and revered for his genius in our own time.  The mosaics in picture form are truly spectacular but to cast ones’ eyes upon the brilliant architectural edifice is surely a wish that must be fulfilled. There is an intriguing combination of styles, expressions of religious faith, and contrasts between the relatively simple exterior and a stunning interior.  One photograph, and there are so many, is of a small niche: the walls are plaster painted white the accents in gold leaf. It was striking, luxurious, yet somehow, basic and simple. But most of all, the prospect of standing in the place where Charlemagne, Emperor of the Holy Roman Empire received his sacraments is for any aficionado of artistic beauty and history, the Palatine Chapel is perhaps a heaven on earth. (World Archeology)\r\n\r\n[caption id=\"attachment_643\" align=\"alignleft\" width=\"259\" caption=\"Palatine Chapel view at side of oratory\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/images.jpg\"><img class=\"size-full wp-image-643\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/images.jpg\" alt=\"Palatine Chapel view at side of oratory\" width=\"259\" height=\"194\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_648\" align=\"alignright\" width=\"300\" caption=\"exterior view of Germingny-des-Pres oratory\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6876.jpg\"><img class=\"size-medium wp-image-648\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6876-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_644\" align=\"alignleft\" width=\"264\" caption=\"Palatine Chapel interior view\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Picture3.jpg\"><img class=\"size-medium wp-image-644\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Picture3-300x214.jpg\" alt=\"\" width=\"264\" height=\"188\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_638\" align=\"alignright\" width=\"173\" caption=\"Oratory at Germingny-des- Prés      \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/450px-Loire_Loiret_Germigny_tango7174.jpg\"><img class=\"size-medium wp-image-638\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/450px-Loire_Loiret_Germigny_tango7174-225x300.jpg\" alt=\"\" width=\"173\" height=\"231\" /></a>[/caption]\r\n\r\nComparing the Palatine Chapel with the Germingny-des- Prés, Loiret, Orléanais, France (the original destroyed by Vikings but later rebuilt in 806 as part of the Palace) one notes a remarkable dissimilarity though the two churches are of the same time period.\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://www.worldheritages.com/aachen-cathedral.html\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://www.worldheritages.com/aachen-cathedral.html</span></span></a></span></span><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\"> (upper left)</span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<span style=\"text-decoration: underline\"><span><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876</span></span></a></span></span></span><span><span style=\"font-size: 8pt;color: #1f497d\"> (right)</span></span>\r\n\r\n<span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\">http://elisabethdemoreau.wordpress.com/lost-tomb-2/</span></span></span><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\"> (above)</span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg</span></span></a> </span></span><span style=\"font-size: 8pt;color: #1f497d\"><span><span style=\"font-size: 8pt;color: #1f497d\">(right)</span></span><span> </span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<span style=\"font-size: 8pt;color: #1f497d\"><span>\r\n</span></span>\r\n\r\n<span style=\"font-size: 8pt;color: #1f497d\"><span> </span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\nBoth the Palatine Chapel and the Germingny-des- Prés were constructed as only part of the palace grounds yet were an important ingredient in this dominantly Christian society. The exterior the Germingny-des-Pres indicates a stone construction that is quite unadorned while the Palatine Chapel includes spires, soaring arched windows with stained glass art, and the apse of the Germingny-des- Prés is low, round and small while the Palatine Chapel presents an elongated apse with those towering support columns. Examining the interior of the Germingny-des- Prés in comparison to the Palatine Chapel one first might find some similarities with the Moorish inspired striped archways and use of groin vaults. However, comparing the view of the interior of the Palatine Chapel at the left with its famous octagonal shape to that of the curvilinear aspects of the low ceilinged Germingny-des- Prés, a clear difference is noted. The expansive interior space of the Palatine Chapel is considered a remarkable feat of engineering for the times.\r\n\r\n[caption id=\"attachment_640\" align=\"alignright\" width=\"227\" caption=\"Germigny Des Pres&#039; dome ceiling\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_011.jpg\"><img class=\"size-full wp-image-640\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_011.jpg\" alt=\"\" width=\"227\" height=\"173\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_645\" align=\"alignleft\" width=\"249\" caption=\"Palatine Chapel image of Christ in dome ceiling\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/600.jpg\"><img class=\"size-medium wp-image-645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/600-300x200.jpg\" alt=\"\" width=\"249\" height=\"166\" /></a>[/caption]\r\n\r\n<a href=\"http://ookaboo.com/o/pictures/topic/59470/GermignydesPr%C3%A9s\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--> </a>\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<span style=\"font-size: 8pt\"><a href=\"http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg\">http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg </a></span><a href=\"http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--> </a>\r\n\r\n<span style=\"font-size: 8pt\">(right)</span>\r\n\r\n<span><a href=\"http://www.funkystock.eu/Stock-Pictures-Photos-Images-Italy.html\">http://www.funkystock.eu/Stock-Pictures-Photos-Images-Italy.html</a></span> (left)\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nAs with the Palatine Chapel, Germigny-des-Prés is adorned with beautiful mosaics and remnants of mosaics within its walls. The dome features a mosaic, the church’s most precious period possession, the Ark of the Covenant image. An iconoclastic representation, this mosaic depicts the devotees of Jesus and not Jesus’ image.  The images in the Palatine Chapel indicate a delicate balance during the Iconoclastic period; a period of controversy within the Church, and show Jesus holding a manuscript; however, a nod to the Iconoclasts is the symbols at each side of the figure. The mosaic in the apse of the Palatine Chapel was originally a fresco reproduced in mosaic in the 18th century. The glass cubes and colored stone mosaic surrounded by stucco reliefs in the Germigny-des-Prés Apse is thought to be produce by an eastern artist.\r\n\r\n[caption id=\"attachment_642\" align=\"alignleft\" width=\"297\" caption=\"Plan view Palatine Chapel at Aachen\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/AaachenChapel.png\"><img class=\"size-medium wp-image-642\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/AaachenChapel-300x176.png\" alt=\"\" width=\"297\" height=\"174\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_641\" align=\"alignright\" width=\"243\" caption=\"Plan view Oratory at Germingny-des- Prés      \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/3406261069_523956a114.jpg\"><img class=\"size-full wp-image-641\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/3406261069_523956a114.jpg\" alt=\"\" width=\"243\" height=\"237\" /></a>[/caption]\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<span style=\"font-size: 8pt;line-height: 115%\"><a href=\"http://www.flickr.com/photos/30985866@N07/3406261037/\">http://www.flickr.com/photos/30985866@N07/3406261037 </a></span>Right\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span><a href=\"http://www.thefullwiki.org/Palatine_Chapel_at_Aachen\">http://www.thefullwiki.org/Palatine_Chapel_at_Aachen</a></span> Left\r\n\r\nThe floor plan of the Palatine Chapel and the Germigny-des-Prés reveal a significant defference in the two buildings. The Germigny-des-Prés is built on the Greek-cross plan (see right image) at the east of the structure and is contained within a square, measuring thirty-two feet on each of the four sides while the Palatine Chapel is constructed in an octagonal shape with a web of interlacing supports. The Germigny-des- Prés features exterior apses unlike that of the Palatine Chapel (see left image).\r\n\r\nAs one of the most significant surviving archetypes of Carolingian architecture in the world today, the Palatine Chapel and is the historic rebirth of Early Christian and Byzantine structures. Scholars praise the Palatine inspired architecture. Impressions of S. Vitale in Ravenna and with some influences of ancient Roman perceived an antique revival of its day, and contemporary Visigoth, Moorish, Byzantine and even Armenian work are clearly embody in the Palatine Chapel.\r\n\r\nAs the burial place for Charlemagne, the historical significance of the Palatine Chapel is unmistakable. Indeed, the Palatine Chapel is inextricably connected to the monumental and historical figure, Charlemagne. Understanding even a microcosm of Charlemagne, the man, the King, the Conqueror, the ruler over the Holy Roman Empire, illustrates that is essential to preserve the Palatine Chapel as a relic; indeed, a relic which itself embraces precious relics within; the cloak of the Blessed Virgin; the swaddling-clothes of the Infant Jesus; the loin-cloth worn by Christ on the Cross; and the cloth on which lay the head of St. John the Baptist after his beheading to name only a few of the most important which in most cases were collected by Charlemagne himself.\r\nThe beauty and elegance found in the interior of the Chapel set against its an austere exterior offers the world a snapshot of a time of conflict within the church, a revolution in building methods and design, and a significant shift in the way artistic expression was rendered, and an era that defined the feudal system.  Additionally, Aachen Cathedral was designated a UNESCO (United Nations Educational, Scientific and Cultural Organization) paid homage this masterpiece of Carolingian architecture, the Aachen Palace and its Cathedral, the Palatine Chapel, by designating it a World Heritage site in 1978. (Kreis)\r\nIt is imperative that we preserve for our future generations the history not only of the Palatine Chapel but that of the architectural, political, religious, artistic metamorphosis it represents; Byzantine, Classical Roman, Oriental influences, struggles within the church, and the birth of the feudal system.  It is not overstated to argue that the Palatine Chapel represents a slice of our world history spanning centuries. It is for these reasons that the structure along with its relics, art, and history must be considered for inclusion in the time capsule.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">CITED WORKS</p>\r\nTrachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz\r\n\r\nhttp://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926\r\nMoreland, John and Van de Noort, Robert. Integration and Social Reproduction in the Carolingian Empire. World Archaeology, Vol.23, No.3. Archaeology of Empires. Taylor &amp; Francis. Ltd. Abingdon Oxfordshire, England. 2/1992, (page 320-334)\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span><a href=\"http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg\"><span style=\"font-size: 8pt;line-height: 115%\">http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg</span></a></span></div>','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-23','','','2011-03-13 10:44:02','2011-03-13 16:44:02','',619,'http://jeanatacc.com/2011/?p=762',0,'revision','',0),(763,9,'2011-03-21 19:57:48','2011-03-22 01:57:48','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>','Hagia Sophia','','inherit','open','open','','756-revision-5','','','2011-03-21 19:57:48','2011-03-22 01:57:48','',756,'http://jeanatacc.com/2011/?p=763',0,'revision','',0),(765,9,'2011-03-21 20:20:04','2011-03-22 02:20:04','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\n<p style=\"text-align: center\"> </p>\n<p style=\"text-align: center\"> </p>\n<p style=\"text-align: center\">Works Cited</p>\n\"Byzantine Empire.\" <em>Encyclopædia Britannica. </em><em>Encyclopædia Britannica Online</em>.  Encyclopædia Britannica, 2011. Web. 18 Mar. 2011.    <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/87186/Byzantine-Empire\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/87186/Byzantine-Empire</a>.\n\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed.  Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\n\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>.  Encyclopædia Britannica, 2011. Web. 18 Mar. 2011.    <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed.  McGraw-Hill, 2011.  Print. \n\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen Christensen and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\n\n Karabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3424600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3424600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>','Hagia Sophia','','inherit','open','open','','756-revision-6','','','2011-03-21 20:20:04','2011-03-22 02:20:04','',756,'http://jeanatacc.com/2011/?p=765',0,'revision','',0),(766,17,'2011-03-21 20:54:28','2011-03-22 02:54:28','Einhard’s The Life of Charlemagne\r\n\r\nLife of Charlemagne is a biography written by Einhard circa 829-836.  Biographies were extremely rare in this era and the detailed account of Charlemagne’s life, while biased, offers a unique view into his world and the job of running an empire.  Charlemagne wished to restore the Roman Empire under Christian rule and is famous for his accomplishment this goal.  Life of Charlemagne should be preserved because it is a biography, a rarity for its time period, and it offers a detailed look into the life of not just anyone from the medieval times, but a figure of prominence.\r\n<!--more-->\r\nLife of Charlemagne was typical of its era in that it was a means of gaining the support of the people without modern technology.  Today we have the media to spread political feelings and sway the public to support their leaders but in this was just another form of propaganda employed to make citizens like Charlemagne. At a time when the authoritarian power needed methods of gaining and retaining the support of its subjects, so the issuing of a document like Einhard’s Life of Charlemagne would have been pretty standard procedure.  Despite its unfortunate untimeliness (after the death of Charlemagne) it still would have caught the hearts of those who read it and given them pride in their ruler.\r\nThe Life of Charlemagne is unique because it was the “first political biography written since the classical age”(Wilson 138).  This was also a very intimate account of Charlemagne’s life because Einhard knew him so well.  While the biography is sugar-coated to protect Charlemagne’s legacy, it still gives many details into his life.  For example, Einhard states that Charlemagne “employed the building blocks of religion he brought to Europe” (Wilson 89) to unite the people within his empire.  He doesn’t suggest that Charlemagne was just trying to spread the religion, he wanted to be the man in charge and Christianity was a useful tool in accomplishing this goal.\r\nNot many people could read very well at this time so long forms of written material weren’t the most effective way of gaining admiration.  Charlemagne himself couldn’t read but he championed those who could.  It is for this reason that he wanted religion to educate the people.  Fittingly, it was at the institutions he had founded and instilled the value of teaching that people could go and listen to an educated literate member of the church tell about the life of Charlemagne\r\nPeople at the time probably celebrated the work because it suggested that their highest ruler had all of their best interests at heart.  For example, “he needed the military prowess” of the warrior caste, but knew that “their tendency to exploit underlings made them dangerously destabilizing element of society” (Wilson 46).  Thanks to his biography the average citizen would think that Charlemagne hadn’t played favorites.  Their continued confidence in the government despite the death of Charlemagne would have been an invaluable resource to those who took over after his death.\r\nI think people today are impressed by the in-depth and complex analysis of Charlemagne by Einhard.  He went to great lengths to describe Charlemagne’s personality and to elaborate on why Einhard behaved the way he did.  While man may have made huge jumps in our understanding of science, we are still only humans and continue operating with the same basic motivations and thoughts.  That said, people today are probably impressed by the complexity of that expressed by Einhard, albeit he was well-educated for his era.  Today’s society also sees through the façade that Einhard creates for Charlemagne.  We have much more experience with corrupt governments and authoritarian powers than anyone at the time.  Because of this we are familiar with bias in writing and propaganda.  We also know more about Charlemagne’s life than citizens in his empire.  Thanks to this knowledge, we can see that Einhard’s Life of Charlemagne is heavily biased.  Wilson even wrote that “it’s unfortunate that our best source for the life of Charlemagne is a one-sided interpretation of the emperor’s character” (Wilson 137).\r\nPersonally I was re¬¬¬ally amazed by the complex thoughts of not only Charlemagne but also Einhard.  It sounds bad, but given the extensive education we do through just to graduate from high school and advances in technology and science; it’s easy for us to assume we are much more complex thinkers than people in the past.  However, there are many constants in human society which make interactions within societies pretty much the same throughout human history.  Just because these ancient figures weren’t aware of electricity or a heliocentric universe didn’t mean they didn’t understand how others think.  People are basically the same no matter when they lived because we are all driven by the same stimuli.  Charlemagne understood the motivations of the people he ruled and how to rule in a way which would please his subjects while maintaining his role as the ruler of the kingdom.  I can only begin to understand the complex interactions that motivate people to rise up and protest against the ruling power in their society.  Charlemagne however was able to navigate these complex factors which contribute to human behavior and reach decisions which would please the people.  I guess I was just surprised by his ability to relate to his people and rule them justly.  While some of this is I should have known that he would have an extraordinary ability to understand his people and make wise decisions.  Otherwise he wouldn’t be a great figure in history that we learn about to this day.¬\r\n\r\n¬\r\nThe Life of Charlemagne is comparable to Dante’s Divine Comedy because it was meant for everyone to hear and also to persuade the people to behave in a certain way.  While they carried different messages, Life of Charlemagne that the people should trust and support their rulers, and Divine Comedy, that strict adherence to the Christian way of life should be followed to avoid eternal damnation, they were both communicated through literature.  Divine Comedy would have been a useful tool to the authoritarian entities at the time because it inspired continued and deeper devotion to Christianity which was a tool implemented by Charlemagne to better his role as a ruler.  The more they supported Christianity, the more access they would gain to the educational resources he provided them through the church, and the more they would recognize and appreciate his efforts to educate his people.\r\nDivine Comedy would have had a greater influence over the people because it was about their religion and was meant to scare them into behaving properly.  Upon reading or listening to the story, citizens from the middle ages would have felt an immediate need to act and save their souls so as to avoid the fiery punishment waiting for them.  Those who heard The Life of Charlemagne would have appreciated their leader and shown more loyalty to the empire of which they were a part.  While both works influenced their reader’s, Einhard’s Life of Charlemagne would not have elicited the same response from its readers as Divine Comedy because it’s message was one of celebration.  The very purpose of Divine Comedy is to describe the repercussions for sinning so it scared its readers and convinced them that a terrible punishment awaited them if they didn’t improve their behavior.\r\nBecause it provides a look into the life of Charlemagne, a superstar from the time period, and it is the first biography written since the Roman era, The Life of Charlemagne deserves to be preserved.\r\nWorks Cited:\r\nFiero, Gloria. The Humanistic Tradition. The McGraw Hill Companies, 2002.\r\nHalsall, Paul. \"Medieval sourcebook: the monk of St Gall.\" Fordham. Edu. January 1999. Internet medieval source book, Web. 3-20-2011. http://www.fordham.edu/halsall/basis/stgall-charlemagne.html\r\nPicherit, Jean-Louis, trans. The Journey of Charlemagne to Jerusalem and Constantinople. Birmingham, ala.: Summa Publications, 1984.\r\nQuizot, Francois. The History of Civilization in Europe. Translated by William Hazlitt. London: Penguin, 1997.\r\nWilson, Derek. Charlemagne. 1st. 1. London: Vintage Books, 2005. Print.','Einhard\'s Life of Charlemagne','','publish','open','open','','einhards-life-of-charlemagne','','','2011-03-22 14:30:03','2011-03-22 20:30:03','',0,'http://jeanatacc.com/2011/?p=766',0,'post','',7),(767,17,'2011-03-21 20:52:58','2011-03-22 02:52:58','','Auto Draft','','inherit','open','open','','766-revision','','','2011-03-21 20:52:58','2011-03-22 02:52:58','',766,'http://jeanatacc.com/2011/?p=767',0,'revision','',0),(769,17,'2011-03-21 20:54:28','2011-03-22 02:54:28','Einhard’s The Life of Charlemagne\nLife of Charlemagne is a biography written by Einhard circa 829-836.  Biographies were extremely rare in this era and the detailed account of Charlemagne’s life, while biased, offers a unique view into his world and the job of running an empire.  Charlemagne wished to restore the Roman Empire under Christian rule and is famous for his accomplishment this goal.  Life of Charlemagne should be preserved because it is a biography, a rarity for its time period, and it offers a detailed look into the life of not just anyone from the medieval times, but a figure of prominence.\nLife of Charlemagne was typical of its era in that it was a means of gaining the support of the people without modern technology.  Today we have the media to spread political feelings and sway the public to support their leaders but in this was just another form of propaganda employed to make citizens like Charlemagne. At a time when the authoritarian power needed methods of gaining and retaining the support of its subjects, so the issuing of a document like Einhard’s Life of Charlemagne would have been pretty standard procedure.  Despite its unfortunate untimeliness (after the death of Charlemagne) it still would have caught the hearts of those who read it and given them pride in their ruler.  \n	The Life of Charlemagne is unique because it was the “first political biography written since the classical age”(Wilson 138).  This was also a very intimate account of Charlemagne’s life because Einhard knew him so well.  While the biography is sugar-coated to protect Charlemagne’s legacy, it still gives many details into his life.  For example, Einhard states that Charlemagne “employed the building blocks of religion he brought to Europe” (Wilson 89) to unite the people within his empire.  He doesn’t suggest that Charlemagne was just trying to spread the religion, he wanted to be the man in charge and Christianity was a useful tool in accomplishing this goal.  \nNot many people could read very well at this time so long forms of written material weren’t the most effective way of gaining admiration.  Charlemagne himself couldn’t read but he championed those who could.  It is for this reason that he wanted religion to educate the people.  Fittingly, it was at the institutions he had founded and instilled the value of teaching that people could go and listen to an educated literate member of the church tell about the life of Charlemagne\nPeople at the time probably celebrated the work because it suggested that their highest ruler had all of their best interests at heart.  For example, “he needed the military prowess” of the warrior caste, but knew that “their tendency to exploit underlings made them dangerously destabilizing element of society” (Wilson 46).  Thanks to his biography the average citizen would think that Charlemagne hadn’t played favorites.  Their continued confidence in the government despite the death of Charlemagne would have been an invaluable resource to those who took over after his death.  \nI think people today are impressed by the in-depth and complex analysis of Charlemagne by Einhard.  He went to great lengths to describe Charlemagne’s personality and to elaborate on why Einhard behaved the way he did.  While man may have made huge jumps in our understanding of science, we are still only humans and continue operating with the same basic motivations and thoughts.  That said, people today are probably impressed by the complexity of that expressed by Einhard, albeit he was well-educated for his era.  Today’s society also sees through the façade that Einhard creates for Charlemagne.  We have much more experience with corrupt governments and authoritarian powers than anyone at the time.  Because of this we are familiar with bias in writing and propaganda.  We also know more about Charlemagne’s life than citizens in his empire.  Thanks to this knowledge, we can see that Einhard’s Life of Charlemagne is heavily biased.  Wilson even wrote that “it’s unfortunate that our best source for the life of Charlemagne is a one-sided interpretation of the emperor’s character” (Wilson 137).  \nPersonally I was re¬¬¬ally amazed by the complex thoughts of not only Charlemagne but also Einhard.  It sounds bad, but given the extensive education we do through just to graduate from high school and advances in technology and science; it’s easy for us to assume we are much more complex thinkers than people in the past.  However, there are many constants in human society which make interactions within societies pretty much the same throughout human history.  Just because these ancient figures weren’t aware of electricity or a heliocentric universe didn’t mean they didn’t understand how others think.  People are basically the same no matter when they lived because we are all driven by the same stimuli.  Charlemagne understood the motivations of the people he ruled and how to rule in a way which would please his subjects while maintaining his role as the ruler of the kingdom.  I can only begin to understand the complex interactions that motivate people to rise up and protest against the ruling power in their society.  Charlemagne however was able to navigate these complex factors which contribute to human behavior and reach decisions which would please the people.  I guess I was just surprised by his ability to relate to his people and rule them justly.  While some of this is I should have known that he would have an extraordinary ability to understand his people and make wise decisions.  Otherwise he wouldn’t be a great figure in history that we learn about to this day.¬¬\nThe Life of Charlemagne is comparable to Dante’s Divine Comedy because it was meant for everyone to hear and also to persuade the people to behave in a certain way.  While they carried different messages, Life of Charlemagne that the people should trust and support their rulers, and Divine Comedy, that strict adherence to the Christian way of life should be followed to avoid eternal damnation, they were both communicated through literature.  Divine Comedy would have been a useful tool to the authoritarian entities at the time because it inspired continued and deeper devotion to Christianity which was a tool implemented by Charlemagne to better his role as a ruler.  The more they supported Christianity, the more access they would gain to the educational resources he provided them through the church, and the more they would recognize and appreciate his efforts to educate his people.\nDivine Comedy would have had a greater influence over the people because it was about their religion and was meant to scare them into behaving properly.  Upon reading or listening to the story, citizens from the middle ages would have felt an immediate need to act and save their souls so as to avoid the fiery punishment waiting for them.  Those who heard The Life of Charlemagne would have appreciated their leader and shown more loyalty to the empire of which they were a part.  While both works influenced their reader’s, Einhard’s Life of Charlemagne would not have elicited the same response from its readers as Divine Comedy because it’s message was one of celebration.  The very purpose of Divine Comedy is to describe the repercussions for sinning so it scared its readers and convinced them that a terrible punishment awaited them if they didn’t improve their behavior.\n	Because it provides a look into the life of Charlemagne, a superstar from the time period, and it is the first biography written since the Roman era, The Life of Charlemagne deserves to be preserved.\nWorks Cited:\nFiero, Gloria. The Humanistic Tradition. The McGraw Hill Companies, 2002.\nHalsall, Paul. \"Medieval sourcebook: the monk of St Gall.\" Fordham. Edu. January 1999. Internet medieval source book, Web. 3-20-2011. http://www.fordham.edu/halsall/basis/stgall-charlemagne.html\nPicherit, Jean-Louis, trans. The Journey of Charlemagne to Jerusalem and Constantinople. Birmingham, ala.: Summa Publications, 1984.\nQuizot, Francois. The History of Civilization in Europe. Translated by William Hazlitt. London: Penguin, 1997.\nWilson, Derek. Charlemagne. 1st. 1. London: Vintage Books, 2005. Print.\n\n\n','Einhard\'s Life of Charlemagne','','inherit','open','open','','766-revision-2','','','2011-03-21 20:54:28','2011-03-22 02:54:28','',766,'http://jeanatacc.com/2011/?p=769',0,'revision','',0),(770,1,'2011-03-21 21:19:33','2011-03-22 03:19:33','<!--more-->Einhard’s The Life of Charlemagne\r\nLife of Charlemagne is a biography written by Einhard circa 829-836.  Biographies were extremely rare in this era and the detailed account of Charlemagne’s life, while biased, offers a unique view into his world and the job of running an empire.  Charlemagne wished to restore the Roman Empire under Christian rule and is famous for his accomplishment this goal.  Life of Charlemagne should be preserved because it is a biography, a rarity for its time period, and it offers a detailed look into the life of not just anyone from the medieval times, but a figure of prominence.\r\nLife of Charlemagne was typical of its era in that it was a means of gaining the support of the people without modern technology.  Today we have the media to spread political feelings and sway the public to support their leaders but in this was just another form of propaganda employed to make citizens like Charlemagne. At a time when the authoritarian power needed methods of gaining and retaining the support of its subjects, so the issuing of a document like Einhard’s Life of Charlemagne would have been pretty standard procedure.  Despite its unfortunate untimeliness (after the death of Charlemagne) it still would have caught the hearts of those who read it and given them pride in their ruler.\r\nThe Life of Charlemagne is unique because it was the “first political biography written since the classical age”(Wilson 138).  This was also a very intimate account of Charlemagne’s life because Einhard knew him so well.  While the biography is sugar-coated to protect Charlemagne’s legacy, it still gives many details into his life.  For example, Einhard states that Charlemagne “employed the building blocks of religion he brought to Europe” (Wilson 89) to unite the people within his empire.  He doesn’t suggest that Charlemagne was just trying to spread the religion, he wanted to be the man in charge and Christianity was a useful tool in accomplishing this goal.\r\nNot many people could read very well at this time so long forms of written material weren’t the most effective way of gaining admiration.  Charlemagne himself couldn’t read but he championed those who could.  It is for this reason that he wanted religion to educate the people.  Fittingly, it was at the institutions he had founded and instilled the value of teaching that people could go and listen to an educated literate member of the church tell about the life of Charlemagne\r\nPeople at the time probably celebrated the work because it suggested that their highest ruler had all of their best interests at heart.  For example, “he needed the military prowess” of the warrior caste, but knew that “their tendency to exploit underlings made them dangerously destabilizing element of society” (Wilson 46).  Thanks to his biography the average citizen would think that Charlemagne hadn’t played favorites.  Their continued confidence in the government despite the death of Charlemagne would have been an invaluable resource to those who took over after his death.\r\nI think people today are impressed by the in-depth and complex analysis of Charlemagne by Einhard.  He went to great lengths to describe Charlemagne’s personality and to elaborate on why Einhard behaved the way he did.  While man may have made huge jumps in our understanding of science, we are still only humans and continue operating with the same basic motivations and thoughts.  That said, people today are probably impressed by the complexity of that expressed by Einhard, albeit he was well-educated for his era.  Today’s society also sees through the façade that Einhard creates for Charlemagne.  We have much more experience with corrupt governments and authoritarian powers than anyone at the time.  Because of this we are familiar with bias in writing and propaganda.  We also know more about Charlemagne’s life than citizens in his empire.  Thanks to this knowledge, we can see that Einhard’s Life of Charlemagne is heavily biased.  Wilson even wrote that “it’s unfortunate that our best source for the life of Charlemagne is a one-sided interpretation of the emperor’s character” (Wilson 137).\r\nPersonally I was re¬¬¬ally amazed by the complex thoughts of not only Charlemagne but also Einhard.  It sounds bad, but given the extensive education we do through just to graduate from high school and advances in technology and science; it’s easy for us to assume we are much more complex thinkers than people in the past.  However, there are many constants in human society which make interactions within societies pretty much the same throughout human history.  Just because these ancient figures weren’t aware of electricity or a heliocentric universe didn’t mean they didn’t understand how others think.  People are basically the same no matter when they lived because we are all driven by the same stimuli.  Charlemagne understood the motivations of the people he ruled and how to rule in a way which would please his subjects while maintaining his role as the ruler of the kingdom.  I can only begin to understand the complex interactions that motivate people to rise up and protest against the ruling power in their society.  Charlemagne however was able to navigate these complex factors which contribute to human behavior and reach decisions which would please the people.  I guess I was just surprised by his ability to relate to his people and rule them justly.  While some of this is I should have known that he would have an extraordinary ability to understand his people and make wise decisions.  Otherwise he wouldn’t be a great figure in history that we learn about to this day.¬\r\n\r\n¬\r\nThe Life of Charlemagne is comparable to Dante’s Divine Comedy because it was meant for everyone to hear and also to persuade the people to behave in a certain way.  While they carried different messages, Life of Charlemagne that the people should trust and support their rulers, and Divine Comedy, that strict adherence to the Christian way of life should be followed to avoid eternal damnation, they were both communicated through literature.  Divine Comedy would have been a useful tool to the authoritarian entities at the time because it inspired continued and deeper devotion to Christianity which was a tool implemented by Charlemagne to better his role as a ruler.  The more they supported Christianity, the more access they would gain to the educational resources he provided them through the church, and the more they would recognize and appreciate his efforts to educate his people.\r\nDivine Comedy would have had a greater influence over the people because it was about their religion and was meant to scare them into behaving properly.  Upon reading or listening to the story, citizens from the middle ages would have felt an immediate need to act and save their souls so as to avoid the fiery punishment waiting for them.  Those who heard The Life of Charlemagne would have appreciated their leader and shown more loyalty to the empire of which they were a part.  While both works influenced their reader’s, Einhard’s Life of Charlemagne would not have elicited the same response from its readers as Divine Comedy because it’s message was one of celebration.  The very purpose of Divine Comedy is to describe the repercussions for sinning so it scared its readers and convinced them that a terrible punishment awaited them if they didn’t improve their behavior.\r\nBecause it provides a look into the life of Charlemagne, a superstar from the time period, and it is the first biography written since the Roman era, The Life of Charlemagne deserves to be preserved.\r\nWorks Cited:\r\nFiero, Gloria. The Humanistic Tradition. The McGraw Hill Companies, 2002.\r\nHalsall, Paul. \"Medieval sourcebook: the monk of St Gall.\" Fordham. Edu. January 1999. Internet medieval source book, Web. 3-20-2011. http://www.fordham.edu/halsall/basis/stgall-charlemagne.html\r\nPicherit, Jean-Louis, trans. The Journey of Charlemagne to Jerusalem and Constantinople. Birmingham, ala.: Summa Publications, 1984.\r\nQuizot, Francois. The History of Civilization in Europe. Translated by William Hazlitt. London: Penguin, 1997.\r\nWilson, Derek. Charlemagne. 1st. 1. London: Vintage Books, 2005. Print.','Einhard\'s Life of Charlemagne','','inherit','open','open','','766-revision-3','','','2011-03-21 21:19:33','2011-03-22 03:19:33','',766,'http://jeanatacc.com/2011/?p=770',0,'revision','',0),(771,1,'2011-03-21 18:53:23','2011-03-22 00:53:23','<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\"><img class=\"size-full wp-image-746 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8341hdr2.jpg)</p>\r\nCharlemagne’s Palatine Chapel stands to be one of the most impressive and representative of Carolingian architecture. Commissioned by the Frankish emperor, Charlemagne, it was a center of learning, art, and religion, and portrays the cultural renaissance when early interests in the Classical Era was explored, religious worship was emphasized, and innovation in arts and literature flourished (“Carolingian Art”).\r\n\r\n<!--more-->\r\n\r\nThe building of the chapel including the palace, which was later destroyed by a fire, began approximately 792 A.D. and was completed by 805 A.D in Aachen, Germany (“Fiero”). The architect of the Palatine Chapel was Odo de Metz (“Metz”). It was the emperor, Charlemagne, who after visiting the San Vitali in Ravenna, Italy, commissioned a more simplified version of the San Vitali, imitating its structural plan and design (Fiero). The structure of the Palatine Chapel was built to have three tiers with two stories. It had a large octagonal-shaped dome representing heaven and the bottom tier represented Earth where the people gather to worship (Fiero). In the middle of the gallery is the passageway to the throne room.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\"><img class=\"aligncenter size-full wp-image-747\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg\" alt=\"\" width=\"350\" height=\"233\" /></a>( source: http://www.sacred-destinations.com/germany/images/aachen/cathedral/resized/IMG_8261.jpg)</p>\r\nCharlemagne had great interest in the arts, education, and culture, which is apparent in the Palatine Chapel (Fiero). It was like many other Chapels around it’s time period, in that it is decorated with large columns, which are reminiscent of the classical style Roman columns, stained-glass windows, and mosaics, which Charlemagne removed from Ravenna to place in the Palatine Chapel and in the royal palace (“Mosaics”). The mosaics of the chapel are one of the earliest remaining mosaics since most of the mosaics were destroyed (“Mosaics”). It’s wide arches are striped and the floors are made of marble. However, one of the most notable features of the Palatine Chapel are the exquisite quality of bronze-casting which is sparsely used throughout the chapel, incorporated into the decorations. The double doors of the chapel are decorated with bronze lion heads and door rings (“Door”). The art of bronze casting was an ancient technique of Roman sculptors that nearly disappeared if not for Charlemagne who revived the art (Fiero). The chapel was innovative for its time because it mixed ancient classical artistry, early Byzantine architecture, and the flourishing art forms of the Middle Ages.\r\n\r\n&nbsp;\r\n\r\nCharlemagne put great emphasis in creating centers for education and worship. The Palatine Chapel was one such place where people gathered for religious worship. It had been a place where coronations are held for many centuries. Pilgrims in the Middle Ages came to visit the chapel (“Aachen Cathedral”). People still gather from all over the world to see the majesty of the Palatine Chapel and all of it’s old relics (“Aachen Cathedral”). It is still considered a sacred place and was one of the first sites to be listed in the UNESCO World Heritage Sites (“Aachen Cathedral”) . It is apparent that the Palatine Chapel still captivates people throughout the ages up to today. Up to this day, careful restoration and maintenance is applied to the chapel (“Mosaics”).\r\n\r\n&nbsp;\r\n\r\nAlthough it does not receive the same kind of reverence today than it did back then, the chapel still holds an influence in western culture, architecture, and history. Charlemagne’s Palatine Chapel stands to be one of the most impressive and historic ancient buildings of the Carolingian Renaissance, when innovation in arts from different cultures flourished, and education emphasized, certain things within a time period, no matter how short-lived the renaissance, that future generations should consider.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED:</p>\r\n<p style=\"text-align: left\">\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011.</p>\r\n<p style=\"text-align: left\">\"Carolingian art\"  The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University 	Press, 2004. Oxford Reference Online. Oxford University Press.  Austin 	Community College.  21 March 2011.</p>\r\n\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011.\r\n\r\nFiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011.\r\n\r\n\"Metz, Odo of\"  A Dictionary of Architecture and Landscape Architecture. James Stevens 	Curl. Oxford University Press 2006. Oxford Reference Online. Oxford University 	Press.  Austin Community College.  21 March 2011.\r\n\r\n\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011.','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-9','','','2011-03-21 18:53:23','2011-03-22 00:53:23','',743,'http://jeanatacc.com/2011/?p=771',0,'revision','',0),(772,1,'2011-03-21 17:36:46','2011-03-21 23:36:46','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral3.jpg\"><img class=\"alignnone size-full wp-image-738\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral3.jpg\" alt=\"\" width=\"415\" height=\"332\" /></a>\r\n\r\n&nbsp;\r\n\r\nhttp://www.destination360.com/europe/france/images/s/france-notre-dame-cathedral.jpg\r\n\r\n&nbsp;\r\n\r\nThroughout social history architecture has played a pivotal role in our understanding of civilization, politics, culture, traditions, and art of the period in which it was built. The Cathedral of Notre Dame is definitely one of the great installations of structural design that helps current and will help future generations discover more about the rich and fascinating history of medieval Europe. Notre Dame de Paris is perhaps the most well-known cathedral built by means of gothic style architecture. <!--more-->According to the Columbia University website <em>The People of Notre Dame</em>, 50,000 individuals visit the cathedral everyday. The roughly 2 million people a year come to this breathtaking historical landmark to bask in the beauty of its gothic inspired and designed stained glass windows, sculptures, stone vaults, and flying buttresses. The Cathedral of Notre Dame should be preserved because it is one of the earliest representations and an apex of gothic style architecture. Not only is the history of the building important but it is also a structure that is affluent in community and religious ceremony.\r\n\r\nThe historical context of the time is the foundation for the plan of the building of the cathedral. During the medieval era the Christian religion was at its highest point of dominance over political, religious and cultural authority. The twelfth century was also the beginning of The Crusades, which was a military conquest of western Christians against the Muslim control in Jerusalem. One of the European kings that headed the second Crusade, Louis VII of France, was a young devout Christian ruler who wanted to see Paris rise to the capital of the nation. France as a whole was expanding and increasing in population, one of the reasons was due to the thriving crops and changing agriculture. These economic and political developments were attributed to the power of faith and prayer. Because of this churches and cathedrals were being built all around France and Europe as a symbol of hope. In 1159 Maurice de Sully became Bishop of Paris; the very ambitious man wanted to tear down the depleted cathedral dedicated to St. Etienne and build a much more sophisticated and grand structure devoted to the Virgin Mary on the Île de la Cité. Thus the inspiration for Notre Dame de Paris was established.\r\n\r\nMaurice de Sully was devoted to the construction and completion of the cathedral and according to Columbia Electronic Encyclopedia, Pope Alexander III laid down the first cornerstone in 1163. For almost the next 100 years the cathedral was being built. The basic design was similar to the Carolinian and Romanesque churches, in that it followed the Latin cross design. However, the addition of the two chapels underneath the flying buttresses in the early thirteenth century drastically changed the look and feel of the cathedral. The Notre Dame of Paris article in the Encyclopedia Britannica online illustrates that the “Notre-Dame Cathedral consists of a choir and apse, a short transept, and a nave flanked by double aisles and square chapels.” Most of this was completed between 1163 and 1125 according to the Notre-Dame de Paris official website. The innovative addition of the flying buttresses, which is a unique feature to the gothic style, was not part of the original plan but was added later for support when the nave was being reconstructed in 1230. Although the early architects for the cathedral of Notre Dame is unknown, According to the Notre Dame de Paris article in the Columbia Electronic Encyclopedia, “Among the master builders are the names Jehan de Chelles, Pierre de Montreuil, Pierre de Chelles, and Jehan Rave.” The article goes on to describe and explain more of the features and architecture by stating that “[T]he plan consists of a wide central nave rising 110 ft high and flanked by double aisles, with a transept of slight projection from the main body. The aisles continue around the east end, which, with the projecting chapels, forms a chevet. Three sculptured portals are deeply recessed in the majestic west front. Above them a row of sculptures in niches extends across the facade, and over this, in the center, is the huge traceried rose window.”\r\n\r\nThe Notre Dame de Paris is typical of the gothic and Romanesque style churches from the European medieval era because like others it also was designed to be built upward. True to its period, its massive structure was meant to prevail over all other architecture in the city surrounding it. According to our textbook <em>The Humanistic Tradition</em>, it was and, in respects, still is a beacon for the community, a place for religious ceremony, civic events, public festivals and education. In comparison to the first cathedral to be of gothic design, the Saint-Denis Cathedral, both churches are built with stone rib vaults and pointed arches that shift the bulk of the weight downward, which let the architects take construction to greater heights. The only support necessary for the upward reaching gothic style buildings of this era were the “slender vertical piers and thin lateral (“flying”) buttresses”, despite the fact, they were not used on Saint-Denis, the Notre Dame Cathedral was the first to use the technology (Fiero B2 125). The Notre Dame Cathedral set the standard and influenced competition for other churches to be built more elaborate and of greater height.\r\n\r\nIf Notre Dame de Paris is considered a fundamental and innovative edifice of the gothic style, Chartres cathedral is an example of a church that grew upon these influences.  The Chartres Cathedral is located in Chartres, France, 50 miles away from Paris. The nave of this church is 12 ft taller than the nave of Notre Dame de Paris, Reaching upward to 122ft. Both Cathedrals obey the “set of proportional principles aimed at achieving harmonious design.” According to Fiero, author of <em>The humanistic Tradition</em> the height of the clerestory and the height of the nave arcade in the west façade of Chartres “are exactly three times the height of the triforium, in contrast to the less grand but still impressive Notre Dame de Paris west façade where “the interior sections are mirrored in the three-story elevation of the façade: the height of the nave arcade corresponds to that of the west portals; the triforium arcade is echoed in the rows of saints standing above those portals; and the clerestory is marked by a majestic rose window” (Fiero B2 127).\r\n\r\nA lot of the original integrity of Notre Dame of Paris has been reconstructed over the centuries. In the 19<sup>th</sup> century The French Revolution left the structure badly ruined. Architect <a title=\"Eugène-Emmanuel Viollet-le-Duc\" href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/629711/Eugene-Emmanuel-Viollet-le-Duc\">Eugène-Emmanuel Viollet-le-Duc</a> worked from 1845 to 1864 to restore the monument, according to Encyclopedia Britannica Academic Edition. Alternatively Charles Cathedral was not severely damaged during the French Revolution and has been well preserved over time with most of its basic architectural features and original stained glass windows. Both structures are accurate examples of the gothic style of the twelfth and thirteenth centuries displaying architectural exterior ornamental details such as stone crockets, finials, and gargoyles. They both also house beautiful artwork, religious statues and remarkable stain glass windows that keep visitor’s religious and non coming to their doors.\r\n\r\nIn the medieval period in which the non-classical Notre Dame Cathedral was built the edifice was perceived as a symbol of hope to the people and served the purpose of not only a place of worship but also a community center, and an establishment for education. According to Fiero “[S]eventeenth-century Neoclassicists coined the term “Gothic” to condemn a style they judged to be a “rude and barbarous” alternative to the Classical style.” Even though the architecture is actually very geometric and harmonious in design. Fiero goes on to states that “modern critics have recognized the <em>Gothic style</em> as a sophisticated and majestic expression of the age of faith” (B2 125).  In the Art bulletin Article <em>Notre-Dame of Paris and the anticipation of gothic</em>, author Stephen Murray explain superbly how the Notre Dame Cathedral has been received in the centuries following its completion. He writes that “[E]ach generation finds in the great monument an image of itself. The buoyant nineteenth century found in Notre-Dame an example of the potential power of human reason, combined with technology, to transform radically the old architecture […] Our own postmodern world, on the other hand, may find in the same monument a flawed and backward-looking structure whose builders, having from ailed to anticipate problems resulting from poor lighting, poor drainage, and structural deformation, were forced to retrofit the cathedral in belated response.” I think that the millions of visitors to the Cathedral each year is testament to how the work is received currently. The Notre Dame de Paris is an essential work of art, detailing the remarkable rise of the non-classical, dynamic gothic style. According to the Notre Dame Cathedral website “The cathedral is now more than ever a part of our culture. It is more than just a museum, and serves, as it has from the beginning, as the House of God and the Home of Men, its influence always remaining current.”\r\n\r\nThe most meaningful reason I consider this to be a significant part of history is the fact that it not only served as place that Christians could find refuge, it was built for the community. Bishop Maurice de Sully wanted a focus for the city of Paris, a place the public could celebrate together the pride of their city and devout their appreciation to the Virgin Mary. A place of education for the young, a place the masses could call their own. Another reason it is meaningful to me is because I find the exterior of the cathedral amazing. The dynamic ornamental touches, the towering spires, flying buttresses, and fascinating gargoyles to ward of evil, all are incredible examples of medieval gothic style. Inside is just as overwhelming with the beautiful stained glass windows, wall paintings, furniture, and religious relics. The South Rose window has been considered “one of the greatest masterpieces of Christianity” (ND website). However the Notre Dame de Paris is known for so much more, like its great organs, choirs and music. According to the Notre Dame Cathedral website weekly organ recitals are as much part of the services now as it was when it was first built.  Not to mention the church services provided to millions of Christians throughout its vast history. You can actually listen to live broadcast of the Cathedrals Vespers services Monday through Friday and Sunday mass on television or the radio.\r\n\r\nI chose the Notre Dame de Paris because I believe it is important for future generations to learn about various styles of architecture from early eras of humanities. This astonishing cathedral has been a significant landmark not only to the society of medieval Europe but also an inspiration to architects, sculptors, religious leaders, Christians, historians, and the general public throughout the centuries. There is a great deal of history to learn about western civilization; from the first idea of this structure to the last renovation. The history of the kings that supported the construction, the bishops and popes who have worked and studied inside its walls, the Christian crusades and French revolution it survived, the great builders who contributed to its great mass and rise of the gothic style, are just some of the topics and records that future generations will be able to consider, discover, and learn because of the preservation of this monumental cathedral.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Bibliography</p>\r\nFiero, Gloria K. \"Chapter 13. The Medieval Synthesis in the Arts Ca. 1000–1300.\" <em>The Humanistic Tradition</em>. Boston: McGraw-Hill, 2011. 125-33. Web. 27 Feb. 2011. &lt;http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.\r\n\r\nHayes, Holly. \"Chartres Cathedral.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. 30 July 2010. Web. 4 Mar. 2011. &lt;http://www.sacred-destinations.com/&gt;.\r\n\r\nMurray, Stephen. \"Notre-Dame of Paris and the Anticipation of Gothic.\" <em>Academic Search Complete</em>. Art Bulletin, June 1998. Web. 4 Mar. 2011. &lt;http://web.ebscohost.com.lsproxy.austincc.edu/ehost/detail?hid=119&amp;sid=f49284b8-ef46-47cb-a10e-6dc22ed9a898%40sessionmgr115&amp;vid=1&amp;bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=a9h&amp;AN=787185&gt;.\r\n\r\n\"Notre-Dame De Paris.\" <em>Cathédrale Notre Dame De Paris</em>. Archpriest and Rector of the Cathedral Notre-Dame De Paris, 2011. Web. 18 Mar. 2011. &lt;http://www.notredamedeparis.fr/-English-&gt;.\r\n\r\n\"Notre-Dame De Paris.\" <em>Columbia</em><em> Electronic Encyclopedia, 6th Ed.</em> Academic Search Complete, 1 July 2010. Web. 4 Mar. 2011. &lt;web.ebscohost.com.lsproxy.austincc.edu/ehost/detail?hid=119&amp;sid=9369a7d7-ad0e-4296-a498-da3b670cb081%40sessionmgr115&amp;vid=1&amp;bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=a9h&amp;AN=39025034&gt;.\r\n\r\n\"Notre-Dame de Paris.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 2 Mar. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/420752/Notre-Dame-de-Paris\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/420752/Notre-Dame-de-Paris</a>&gt;.\r\n\r\n\"People/notredame.\" <em>Visual</em><em> Media Center | Columbia University in the City of New York</em>. Trustees of Columbia University in the City of New York, 1998. Web. 18 Mar. 2011. &lt;http://www.learn.columbia.edu/notre-dame/Exterior pages/People_2.html&gt;.\r\n\r\n\"The Cathedral of Notre Dame.\" <em>France</em><em> Monthly</em> (Dec. 2005). 2010-2011. Web. 6 Mar. 2011. &lt;http://www.francemonthly.com/n/1205/index.php#Contents&gt;.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Notre Dame Cathedral','','inherit','open','open','','737-revision-3','','','2011-03-21 17:36:46','2011-03-21 23:36:46','',737,'http://jeanatacc.com/2011/?p=772',0,'revision','',0),(773,1,'2011-03-20 21:06:50','2011-03-21 03:06:50','TCP#2: San Vitale, Ravenna\r\n\r\nThe San Vitale Basilica or Basilica di San Vitale is located in the city of Ravenna in Italy which is a city located in the central part of Italy. The San Vitale Basilica construction started by the Bishop of Ravenna name Ecclesius after he returned from a trip from Byzantium where he met with Pope John in 526.  The construction of the Basilica Started in the site where the martyrdom of ST. Vitalis occurred and the basilica project was almost entirely funded by a wealthy person at that time named Julianus Argentarius who was a powerful person in Ravenna. The name of the architect of the basilica remains unknown till this day but it is important to mention that the basilica construction started during the time where the Goths were in control of Ravenna but the basilica was later finished during the times where the Byzantine rule Ravenna around 548 (Bovini).\r\n\r\nThe Basilica of San Vitale is fascinating in its design and structure because it is not purely a byzantine building or a Christian building, but it is a combination of both the Roman style and the byzantine style, which make it unique in appearance and beauty. The exterior of the Basilica of San Vitale is an octagonal structure composed with a small dome, which was typical of Byzantine architecture, also the octagonal plan have two stories closing a central space beneath a great cupola. Another characteristic of the exterior is that there is a porch attached at an angle in the west side of the structure and to the east there is a small choir and apse. The interior of the Basilica of San Vitale is decorated with 18<sup>Th</sup> century murals like in the cupola but the rest of the interior is decorated in a byzantine style, also one of the most notorious part of the interior of the Basilica are the Byzantine mosaics that are located in the ceilings of the choir and apse (Garotti).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale.jpg\"><img class=\"alignleft size-medium wp-image-716\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n\r\nThere is an arch that establishes the entrance to the presbytery and that part is decorated with mosaics that depict Christ, the apostles and some saints. The Presbytery or the Choir has many mosaics and its ceilings and walls have mosaics representing the Eucharist service, the left wall of the presbytery is characterized by mosaics representing the life of Abraham and the mosaics present stories like the one that Abraham is close to sacrifice his son in order to follow God wishes. On the right wall of the Presbytery is characterized by mosaics depicting Moses and some prophets, most of the mosaics have some sort of animals accompanying the main characters of the mosaics. Then there is the Presbytery vault, which is decorated with brilliant gold, green, blue colors and with small animals. Then there are the apse mosaics that dated from 526-547 AD and presents a full shave Jesus with San Vitale flanking him and with Bishop Ecclesius and a couple of angels, Also some mosaics depict emperor Justinian who was one of the biggest emperor of the Byzantine empire (MacDonald).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa.jpg\"><img class=\"aligncenter size-medium wp-image-717\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>\r\n\r\nThe 6<sup>Th</sup> century period is characterized by the fall of the Roman Empire and this period represents a point of changes and devastation especially in the Roman Empire. During this period one main characteristic was the spread of Catholicism in the west and dethroned Arianism as the main religion in the west. In a way that allows more unity regarding religion and the 6<sup>th</sup> is described as the period of a great emperor named Justinian. During this period Italy was in ruins and many people die to the devastation and war that lasted many years, also the roman empire suffer from the devastation of earthquakes and the invasion of other empires like the Persians. One huge event I think for this period is what happened from all this devastation and that was basically that the population dropped dramatically in Rome below 100,000 and also another aspect is that Latin lost some traction in society and Greek became very preponderant in some parts. During the 6<sup>th</sup> century the Byzantine empire led by emperor Justinian the Great who came to power in AD 527 and returned the glory to the empire by making some changes in the way the legal system and how things were administered in the empire and also emperor Justinian allow and promote the construction of many churches and many mosaics that ended up promoting Christianity. Emperor Justinian was married to a famous ex-courtesan name Theodora and one of their mosaic where both appear facing each other is located in the Basilica of San Vitale. Theodora play a big role in governing the empire and in the making of the important decisions and is she is attributed with helping emperor Justinian made the decision of staying in Constantinople when there was a revolt in AD 532. In AD 537 architects working on the church of Santa Sofia made great developments in construction by being able to place a dome on top of a square formed of four arches. Another development during this period was the promotion of many reforms in the way the civil services were administered with the idea that corruption should be controlled and also with the idea of how to better collected the tax, these measures at the beginning were very unpopular because many did not wanted any change, only after many years pass by the reforms made by Justinian promote are seen as innovative and important. Another development conducted by emperor Justinian was the appointment of a commission of ten men that were in charged of checking was happened during past administrations so in way they were fiscalizing previous governments. Also the commission was in charge of giving a pure version of the constitution and they did by publishing what is known as the Codex  Constitutionum  which is basically a constitution that was published in AD 529. Later in AD 534 the constitutions was modified by a new text named Digesta  which became the new codex. The Codex of AD 534 is what is currently known as the Justinian code of law and consists basically of 12 books with more than 4,000 laws (Ostrogorsky).\r\n\r\nThe early Christian architecture involved the construction of two types of buildings: the basilicas that were designed for worship and as a place for people to meet and the other type of buildings were the martyrium which served as a place where people that have died could be venerated. Some of the main characteristics of Byzantine art are the idea that things should go out of the ordinary and into the extraordinary. In architecture there was a focus for aesthetic detail like for example the use of walls that are supposed to look like curtains and that are supporting a dome and also the use of marble and gold was very common in byzantine art. Byzantine art had an especial focus on Christian ideas and also the decoration of buildings particularly inside them was very detail oriented and with many ornaments. The greatest building in the Byzantine Empire was Hagia Sophia, which is also known as the church of the divine wisdom in Constantinople that was build by emperor Justinian. During the 6<sup>th</sup> century many developments happened in mathematics and also in art to a degree that the period is consider a golden age for byzantine art. For example the architect of the basilica of Hagia Sophia named Anthemius mentioned that architecture needed the use of mathematics in order to transform the solid matter and molded into spectacular shapes. Byzantine art also used materials considered the best at that time like granite and marble, the structures were also full of mosaics like the ones present in the Basilica of San Vitale in Ravenna (Cormack).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128.jpg\"><img class=\"aligncenter size-medium wp-image-719\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>\r\n\r\nAccording to Krautheimer The Basilica of San Vitale is the only building or structure outside of Constantinople that really approaches the level of elegance and sophistication of the Byzantine structures like Hagia Sophia. Usually when people talk about the basilica of San vitale they do it because it offers a way to determine the main characteristics of Byzantine buildings and also the basilica serves as a way to analyze western imperial designs. The design of the Basilica of San Vitale was inspired by the design of the basilica of Hagia Sophia in Constantinople and one of the main purposes for the developing of the Basilica of San Vitale at the beginning was to have a building that surpass by far any other building in the west especially the Arian Cathedral known as San Apollonaire Nuovo that was built by Theodoric. The design of the Basilica of San Vitale is more simplistic that the one of the basilica of Hagia Sophia but it has a complexity in the volumes and the spatial vistas, for example the interior of the basilica is complex with many overlapping vistas that have no comparison not even in Constantinople, which made the Basilica of san Vitale as one of the Great buildings in the west during the 6<sup>th</sup> century.\r\n\r\nIn my opinion the Basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century because of its sheer beauty and the incredible mosaics. Although I have not visited the basilica in person I can tell that the mixture of roman architecture like the doomed roof or the arches in doorways and Byzantine architecture like the polygonal shapes use and detailed of the work make the basilica a unique building not only in the 6<sup>th</sup> century but also till this day. Another aspect that in my opinion is interesting is symbolism and the sacred objects used in the basilica, for example, there are many mosaics that depict events from the Old Testament like the story of Abraham, the story of Cain and Abel among some of them. Another aspect that can put into perspective of how important the Basilica was at the time of its creation is that according to my research during the splendor of the Byzantine Empire many people travel to Ravenna that was a big city in the empire in order to witness such an extraordinary structure. In a way the basilica is more than a marvelous structure and building but also a place where people can look and traced back some of the roots and ideas of one of the biggest empires the world have ever seen.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited</strong>\r\n\r\n-Krautheimer, Richard. Early Christian and Byzantine Architecture. Baltimore: Penguin Books. 1965\r\n\r\n-Bovini, Guiseppe. Ravenna: Art and History . Publisher: Longo (1978)\r\n\r\n-Ostrogorsky, George. History of the Byzantine State. Rutgers.The State University of New Jersey. 1997\r\n\r\n-MacDonald,  L. William. Early Christian and Byzantine architecture. New York . 1962\r\n\r\n-Garotti. G. A History of Art. Volume 2. Publisher: E.P Dutton . New York. 1909\r\n\r\n-Cormack, robin. Byzantine Art (Oxford History of Art). Oxford university Press. 2000.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','San Vitale Basilica, Ravenna (TCP#2)','','inherit','open','open','','715-revision-2','','','2011-03-20 21:06:50','2011-03-21 03:06:50','',715,'http://jeanatacc.com/2011/?p=773',0,'revision','',0),(806,9,'2011-03-27 17:10:49','2011-03-27 23:10:49','<img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"400\" height=\"748\" />','Donatello\'s David','','inherit','open','open','','805-revision','','','2011-03-27 17:10:49','2011-03-27 23:10:49','',805,'http://jeanatacc.com/2011/?p=806',0,'revision','',0),(777,36,'2011-03-22 23:02:15','2011-03-23 05:02:15','<img alt=\"\" src=\"http://www.saintpetersbasilica.org/Exterior/Facade/Facade-Sq07.jpg\" class=\"alignnone\" width=\"1200\" height=\"800\" />               St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\n\n                                                            Work Cites\n\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\n\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\n\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\n\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\n\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\n\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision','','','2011-03-22 23:02:15','2011-03-23 05:02:15','',776,'http://jeanatacc.com/2011/?p=777',0,'revision','',0),(780,36,'2011-03-22 23:09:40','2011-03-23 05:09:40','            St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \r\n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\n                                                            Work Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision-4','','','2011-03-22 23:09:40','2011-03-23 05:09:40','',776,'http://jeanatacc.com/2011/?p=780',0,'revision','',0),(778,36,'2011-03-22 23:02:15','2011-03-23 05:02:15','<img alt=\"\" src=\"http://www.saintpetersbasilica.org/Exterior/Facade/Facade-Sq07.jpg\" class=\"alignnone\" width=\"1200\" height=\"800\" />               St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \r\n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\n                                                            Work Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision-2','','','2011-03-22 23:02:15','2011-03-23 05:02:15','',776,'http://jeanatacc.com/2011/?p=778',0,'revision','',0),(779,36,'2011-03-22 23:07:35','2011-03-23 05:07:35','<img alt=\"\" src=\"http://www.saintpetersbasilica.org/Exterior/Facade/Facade-Sq07.jpg\" class=\"aligncenter\" width=\"1200\" height=\"800\" />\r\n            St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \r\n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\n                                                            Work Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision-3','','','2011-03-22 23:07:35','2011-03-23 05:07:35','',776,'http://jeanatacc.com/2011/?p=779',0,'revision','',0),(781,36,'2011-03-22 23:09:47','2011-03-23 05:09:47','            St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \r\n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\n                                                            Work Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision-5','','','2011-03-22 23:09:47','2011-03-23 05:09:47','',776,'http://jeanatacc.com/2011/?p=781',0,'revision','',0),(850,5,'2011-04-03 16:14:34','2011-04-03 22:14:34','','Auto Draft','','inherit','open','open','','848-revision','','','2011-04-03 16:14:34','2011-04-03 22:14:34','',848,'http://jeanatacc.com/2011/?p=850',0,'revision','',0),(849,5,'2011-04-03 16:16:12','2011-04-03 22:16:12','','School of Athens','','inherit','open','open','','school-of-athens','','','2011-04-03 16:16:12','2011-04-03 22:16:12','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens.png',0,'attachment','image/png',0),(785,31,'2011-03-23 13:33:11','2011-03-23 19:33:11','&nbsp;\r\n\r\n<a href=\"http://www.sacred-destinations.com/france/paris-sainte-chapelle\"><img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" /></a><strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the crown of thorns<strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for 135,000 livres; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the True Cross was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\r\n\r\n&nbsp;\r\n\r\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\r\n\r\n&nbsp;\r\n\r\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\r\n\r\n&nbsp;\r\n\r\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\r\n\r\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\r\n\r\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\r\n\r\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\r\n\r\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\r\n\r\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\r\n\r\n&nbsp;','La Sainte-Chapelle (The Holy Chapel)','','inherit','open','open','','671-autosave','','','2011-03-23 13:33:11','2011-03-23 19:33:11','',671,'http://jeanatacc.com/2011/?p=785',0,'revision','',0),(786,31,'2011-03-09 22:48:27','2011-03-10 04:48:27','&nbsp;\r\n\r\n<img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" /><strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the crown of thorns<strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for 135,000 livres; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the True Cross was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\r\n\r\n&nbsp;\r\n\r\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\r\n\r\n&nbsp;\r\n\r\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\r\n\r\n&nbsp;\r\n\r\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\r\n\r\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\r\n\r\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\r\n\r\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\r\n\r\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\r\n\r\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\r\n\r\n&nbsp;','La Sainte-Chapelle (The Holy Chapel)','','inherit','open','open','','671-revision-4','','','2011-03-09 22:48:27','2011-03-10 04:48:27','',671,'http://jeanatacc.com/2011/?p=786',0,'revision','',0),(893,7,'2011-04-10 15:08:21','2011-04-10 21:08:21','','1380px-Canterbury-west-Winter-Highsmith','Library of Congress North Reading Room mural','inherit','open','open','','1380px-canterbury-west-winter-highsmith','','','2011-04-10 15:08:21','2011-04-10 21:08:21','',892,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg',0,'attachment','image/jpeg',0),(790,22,'2011-03-23 20:09:42','2011-03-24 02:09:42',' \r\n<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/Basilica_of_St_Denis\">http://en.wikipedia.org/wiki/Basilica_of_St_Denis</a></p>\r\n(Rebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior.)<strong><em> Bony, J  </em></strong>Sculptures on the church portaldeveloped into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of Lutenia (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church in here to commemorate his name whose burial site begun to attract many pilgrims. The church of ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church of ST. Denis has been recognized for many different reasons, amount the most important was that ST. Denis church was one of the first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church .\r\nIn contrast to the Romanesque church , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was like  a web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension.( Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone.  )M<em><strong>ichel.1973 </strong></em>Increasingly, images of Mary and  her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that reflects the popular equation of precious gems with sacred glass.(Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven.)<em><strong>Williamson, P</strong></em> The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church, however , Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">(Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.)\r\n<em><strong>Charles, W. 1988 </strong></em>Saint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. In fact, the main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751,let the only remaining intact column sculpture of a king from Saint-Denis, Now is preserved at the Metropolitan Museum of Art in New York. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture Vol.4 No.2 of Athena Review. London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','publish','open','open','','church-of-st-denis-france','','','2011-04-11 13:41:22','2011-04-11 19:41:22','',0,'http://jeanatacc.com/2011/?p=790',0,'post','',10),(791,22,'2011-03-23 20:02:24','2011-03-24 02:02:24','CHURCH OF ST. DENIS FRANCE \n\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\n\nThe church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   . \nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction. \n The church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders. \n\nFragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born. \n\nWork cited \nBony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los \nAngeles, and London, University of California Press. \n \n\nWilliamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press. \n\nCharles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press. \n\nThe humanistic tradition vol. 1 Fiero 6e. \n\nMichel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.\n','','','inherit','open','open','','790-revision','','','2011-03-23 20:02:24','2011-03-24 02:02:24','',790,'http://jeanatacc.com/2011/?p=791',0,'revision','',0),(792,22,'2011-03-23 20:06:39','2011-03-24 02:06:39','','220px-Saint-Denis_-_Basilique_-2','','inherit','open','open','','220px-saint-denis_-_basilique_-2','','','2011-03-23 20:06:39','2011-03-24 02:06:39','',790,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg',0,'attachment','image/jpeg',0),(793,22,'2011-03-23 20:03:27','2011-03-24 02:03:27','                                 \nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\n\nThe church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   . \nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction. \n The church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders. \n\nFragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born. \n\nWork cited \nBony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los \nAngeles, and London, University of California Press. \n \n\nWilliamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press. \n\nCharles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press. \n\nThe humanistic tradition vol. 1 Fiero 6e. \n\nMichel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.\n','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-2','','','2011-03-23 20:03:27','2011-03-24 02:03:27','',790,'http://jeanatacc.com/2011/?p=793',0,'revision','',0),(794,22,'2011-03-23 20:08:16','2011-03-24 02:08:16','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" class=\"alignleft size-full wp-image-792\" /></a>                                      \r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n\r\nThe church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   . \r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction. \r\n The church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders. \r\n\r\nFragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born. \r\n\r\n                                             Work cited \r\n\r\n\r\nBony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los \r\nAngeles, and London, University of California Press. \r\n \r\n\r\nWilliamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press. \r\n\r\nCharles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press. \r\n\r\nThe humanistic tradition vol. 1 Fiero 6e. \r\n\r\nMichel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.\r\n','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-3','','','2011-03-23 20:08:16','2011-03-24 02:08:16','',790,'http://jeanatacc.com/2011/?p=794',0,'revision','',0),(795,22,'2011-03-23 20:09:42','2011-03-24 02:09:42','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" class=\"alignleft size-full wp-image-792\" /></a>                                      \r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n\r\nThe church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   . \r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction. \r\n The church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders. \r\n\r\nFragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born. \r\n\r\n                                             Work cited \r\n\r\n\r\nBony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los \r\nAngeles, and London, University of California Press. \r\n \r\n\r\nWilliamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press. \r\n\r\nCharles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press. \r\n\r\nThe humanistic tradition vol. 1 Fiero 6e. \r\n\r\nMichel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.\r\n','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-4','','','2011-03-23 20:09:42','2011-03-24 02:09:42','',790,'http://jeanatacc.com/2011/?p=795',0,'revision','',0),(796,9,'2011-03-23 22:12:10','2011-03-24 04:12:10','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\nAcclaimed for its beauty and splendid architecture, Hagia Sophia, a Byzantine monument now preserved as a museum, has survived centuries of attack, religious riot destructions, and multiple transformations.  <!--more-->Hagia Sophia was built in Constantinople, now Istanbul, by the emperor Justinian in 532 originally as a Christian church.  However, because of the appealing location and trade that drove the city to success, Constantinople was constantly attacked and ultimately claimed by the Turks in the fifteenth century (Istanbul).  Thus, Hagia Sophia was converted into a mosque used for almost 500 years until it was finally transformed into a museum in 1935.  Despite these strenuous events on the “Great Church” throughout the years, it continues to stand just as strong and as elegant as it was viewed in its prime.  It has been an inspiration for modern architectural style used for grand buildings as well as marking the gradual rise to Christianity throughout the world. Hagia Sophia should therefore be acknowledged and saved for future generations for its importance in the development of society through architectural style and religious beliefs.\n\nHagia Sophia became the jewel of early Christianity.  “It was by far the largest and most splendid religious edifice in all of Christendom” (Eastern).  Originally named Megale Ekklesia (the Great Church), Hagia Sophia also took on the name “Holy Wisdom”.  Emperor Justinian made sure that his creation would be the most unique and magnificent church of all the early Christian churches.  He succeeded as “the finest and rarest materials from the four corners of the empire were brought to Constantinople to be used in the construction of Hagia Sophia” (Altan).  Altan further describes the splendor with a revolutionary architectural style—the dome.  The dome was a representation of “the vault of heavens” and thus introduced a quasi-liturgical feature to the architecture.  The dome was placed atop the building, 210 feet above the floor with a diameter of 110 feet, which was thus supported by four strong piers.  Light is admitted into the interior through forty windows on the dome.  This 260 x 270 foot grand structure unfortunately had to constantly be repaired because of natural disasters such as earthquakes (Altan).  However, the invasion of the Ottoman Turks concluded the Christian hold on the Hagia Sophia and further reconstruction and transformation was done to convert it into a mosque.  Despite the transformation, Hagia Sophia continues to influence many Christian and Islamic architectural buildings today.\n\nAs Christianity continued to spread throughout Europe, much of the spiritual and political excitement was centered on the city of Constantinople, the capital of the Byzantine and Ottoman empires.  After officially declaring Christianity as the state religion, the emperor Constantine helped spark the beginning of holy Christian buildings across the empire (Churches 125).  Because Christians were very precise on building large, enclosed spaces for worship, the basilica, previously used in Rome, was thus reintroduced to architecture during this period.  “Basilicas were large, rectangular structures with high, vaulted roofs of timber beams supported by columns” (125).  Later, Roman influences in architecture reappeared in churches.  The famous Hagia Sophia, started using the domed structure.  Also, because Christianity was rapidly growing and the desire to be acknowledged separately from paganism increased, Christians intricately designed the interiors of the churches built with colored marble, detailed mosaics, and grand paintings. With the thought of honoring God with the richness of the decorations, they “also reflected the growing wealth and power of Christianity” (126).\n\nWhen Hagia Sophia was built in the sixth century, the role of Christianity was changing and shaping moral and cultural values of society.  Hagia Sophia was typical of its era because of the architectural style it was built upon.  Christians wanted to separate from the pagan temples that were either non-Christian or polytheistic (Churches 125).  Therefore, they adapted Roman architectural techniques which can be observed today.  Constructing structures and elements of Roman architecture was the general idea of building Christian buildings, and because the dome was first introduced in Rome, Hagia Sophia had fit into the cultural context of religious architecture.\n\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years until St. Peter’s Basilica was built in Rome (Altan).  Also, because of such a large building and the design for a huge dome, new ideas were implemented to secure its stability.  This marks more innovative architectural style for this century as Hagia Sophia was the first structure to be designed with unfamiliar techniques despite Roman influence.  Hagia Sophia continues to awe countless tourists and locals today of its unique beauty and grandeur.\n\nDuring this time, Hagia Sophia was very appealing to other states and empires and was attacked multiple times.  It was not until the Ottoman Turks was the reign of Christianity diminished and the cathedral was turned into a mosque.  The Hagia Sophia was considered to be the center of religious life in the Eastern Orthodox world and was respected for its intricate design and interior richness (Eastern).  Hagia Sophia was praised for the brilliant architecture and beauty of such a religious place of worship whether it was for the Byzantines or the Turks.  We continue to see this praise throughout the centuries as it still stands proudly in Istanbul.\n\nWith such a monumental and historic element of early Christianity and architecture still existent in the twenty-first century, it is practically impossible for people to miss and not love what their eyes show them.  Today, Hagia Sophia is now preserved as a museum where the ruins and remains that bear characteristics of the fifth and sixth century can be viewed by the public (Altan).  People all over the world visit this museum to view the detail and the artistry of the architectural building.  It has risen in popularity throughout the years in Turkey.  Also, because of its design, architects today still study Hagia Sophia for inspiration and further influences in Christian and non-Christian religions all over the world.  Altan praises, “[Hagia Sophia] should be one of the first things to see on your trip to Istanbul.”  He further suggests, “Make sure you visit the second mezzanine level to see the splendid Byzantine mosaics, and get a birds eye view of the insides of the church.”  We can see that although it has been 1500 years since the construction of Hagia Sophia, it is still widely admired for its architectural and historical influence.\n\nAfter viewing many pictures of both the interior and exterior of the museum, I now have a desire to visit Istanbul for this spectacular, historical monument.  I believe it really portrays its elegance and power of religion as it has survived for so many years despite multiple repairs and transformations.  I was amazed that mankind has been able to maintain Hagia Sophia as it is the oldest surviving church.  I believe it should still be preserved for the future generations to also be given the opportunity to see such a magnificent spectacle that has been so influential and significant to our history.\n\nChristian buildings continued to be built all around the world with similar ideas in mind to that of Hagia Sophia.  Among these famous buildings is the massive St. Peter’s Basilica in Rome that was initially built by Constantine during the fourth century and rebuilt during the Renaissance (St. Peter’s).  Hagia Sophia was also initially founded by Constantine around the same time period as he was rebuilding his Byzantine empire.  Secondly, Hagia Sophia was rebuilt to its structure that stands today, like St. Peter’s Basilica.  Because of the influence of Roman architecture during Justinian’s reign, both buildings constructed domes supported by four piers (St. Peter’s).  We can understand by these similarities that Christians wanted to create the “heavens” for those who came to worship.  The dome has been influential to many religious edifices throughout the years and these two have continued to earn praise world-wide.  Lastly, the immense size of both Hagia Sophia and St. Peter’s Basilica makes it easy to gain fame.  Both have acquired the title of the largest church in the world.  People all over the world gather at the architectural design and richness inside and out, with the enormous size of a historical monument drawing their attention in.  Hagia Sophia and St. Peter’s Basilica have both been acknowledged for their beauty and religious history as they are major relics of early Christianity that still stand today.\n\nDespite their similarities, both still hold true to their unique characteristics.  Unlike St. Peter’s Basilica continuing to stand as a church, Hagia Sophia was converted into a mosque and later into a museum.  Hagia Sophia was also not built over a saint’s tomb.  “St. Peter\'s Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried” (St. Peter’s).  This early Christian church was strictly used for Christianity with 140 statues of saints surrounding the St. Peter’s Square (St. Peter’s).  Hagia Sophia was limited in statues in the exterior and mainly focused on the dome.  Although both structures used the dome, Michelangelo uniquely designed the dome to be a parabola rather than a hemisphere.  Architectural styles throughout the centuries have illustrated the architects’ dreams to portray to the public.  Hagia Sophia and St. Peter’s Basilica both have their own unique tastes that have given them their name.\n\nHagia Sophia is the oldest church that has historically been a part of early Christianity and non-Christianity.  It has provided a place for people to worship and a place for architects to be influenced by.  The influences of religious buildings today are evidences of the impact that Hagia Sophia has made to civilization.  It should be maintained for future generations to view the intricate detail and love for such a spectacle in history despite the multiple transformations.  It’s strength of still standing today has proven it’s capacity to live on and continue its influences to society.\n\n<!--more-->Works Cited\n\nAltan, Al.  “Hagia Sophia.”  <em>Hagia Sophia</em>.  Focus <a title=\"Mediterranean\" href=\"http://www.focusmm.com/\">Mediterranean</a> Magazine.  2007.  Web.  28 February 2011.              <a href=\"http://www.focusmm.com/civilization/hagia/sofia.htm\">http://www.focusmm.com/civilization/hagia/sofia.htm</a>.\nI used this website to help me describe Hagia Sophia.\n\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed. Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\n\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\n\nI used this reference to help me with the historical context and its influences.\n\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 18 Mar. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\n\nI used this reference to explain how society had received Hagia Sophia and to further convince its significance.\n\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen  Christensen  and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\n\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\n\nI used this to help me describe the setting and some historical context occurring during the time period.\n\nKarabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\n\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34%0924600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34            24600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\n\nI used this referenced to help me convince its significance for the future.\n\n&nbsp;\n\n“St. Peter’s Basilica, Rome.”  <em>Sacred Destinations. </em>Sacred Destinations.  2005.    Web.  9 March 2011.\n\n<a href=\"http://www.sacred-destinations.com/italy/rome-st-peters-basilica\">http://www.sacred-destinations.com/italy/rome-st-peters-basilica</a>.\n\nI used this website to help me compare St. Peter’s Basilica to Hagia Sophia.\n\n&nbsp;\n<p style=\"text-align: center\">&nbsp;</p>','Hagia Sophia','','inherit','open','open','','756-revision-7','','','2011-03-23 22:12:10','2011-03-24 04:12:10','',756,'http://jeanatacc.com/2011/?p=796',0,'revision','',0),(797,9,'2011-03-23 22:12:11','2011-03-24 04:12:11','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\r\nAcclaimed for its beauty and splendid architecture, Hagia Sophia, a Byzantine monument now preserved as a museum, has survived centuries of attack, religious riot destructions, and multiple transformations.  <!--more-->Hagia Sophia was built in Constantinople, now Istanbul, by the emperor Justinian in 532 originally as a Christian church.  However, because of the appealing location and trade that drove the city to success, Constantinople was constantly attacked and ultimately claimed by the Turks in the fifteenth century (Istanbul).  Thus, Hagia Sophia was converted into a mosque used for almost 500 years until it was finally transformed into a museum in 1935.  Despite these strenuous events on the “Great Church” throughout the years, it continues to stand just as strong and as elegant as it was viewed in its prime.  It has been an inspiration for modern architectural style used for grand buildings as well as marking the gradual rise to Christianity throughout the world. Hagia Sophia should therefore be acknowledged and saved for future generations for its importance in the development of society through architectural style and religious beliefs.\r\n\r\nHagia Sophia became the jewel of early Christianity.  “It was by far the largest and most splendid religious edifice in all of Christendom” (Eastern).  Originally named Megale Ekklesia (the Great Church), Hagia Sophia also took on the name “Holy Wisdom”.  Emperor Justinian made sure that his creation would be the most unique and magnificent church of all the early Christian churches.  He succeeded as “the finest and rarest materials from the four corners of the empire were brought to Constantinople to be used in the construction of Hagia Sophia” (Altan).  Altan further describes the splendor with a revolutionary architectural style—the dome.  The dome was a representation of “the vault of heavens” and thus introduced a quasi-liturgical feature to the architecture.  The dome was placed atop the building, 210 feet above the floor with a diameter of 110 feet, which was thus supported by four strong piers.  Light is admitted into the interior through forty windows on the dome.  This 260 x 270 foot grand structure unfortunately had to constantly be repaired because of natural disasters such as earthquakes (Altan).  However, the invasion of the Ottoman Turks concluded the Christian hold on the Hagia Sophia and further reconstruction and transformation was done to convert it into a mosque.  Despite the transformation, Hagia Sophia continues to influence many Christian and Islamic architectural buildings today.\r\n\r\nAs Christianity continued to spread throughout Europe, much of the spiritual and political excitement was centered on the city of Constantinople, the capital of the Byzantine and Ottoman empires.  After officially declaring Christianity as the state religion, the emperor Constantine helped spark the beginning of holy Christian buildings across the empire (Churches 125).  Because Christians were very precise on building large, enclosed spaces for worship, the basilica, previously used in Rome, was thus reintroduced to architecture during this period.  “Basilicas were large, rectangular structures with high, vaulted roofs of timber beams supported by columns” (125).  Later, Roman influences in architecture reappeared in churches.  The famous Hagia Sophia, started using the domed structure.  Also, because Christianity was rapidly growing and the desire to be acknowledged separately from paganism increased, Christians intricately designed the interiors of the churches built with colored marble, detailed mosaics, and grand paintings. With the thought of honoring God with the richness of the decorations, they “also reflected the growing wealth and power of Christianity” (126).\r\n\r\nWhen Hagia Sophia was built in the sixth century, the role of Christianity was changing and shaping moral and cultural values of society.  Hagia Sophia was typical of its era because of the architectural style it was built upon.  Christians wanted to separate from the pagan temples that were either non-Christian or polytheistic (Churches 125).  Therefore, they adapted Roman architectural techniques which can be observed today.  Constructing structures and elements of Roman architecture was the general idea of building Christian buildings, and because the dome was first introduced in Rome, Hagia Sophia had fit into the cultural context of religious architecture.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years until St. Peter’s Basilica was built in Rome (Altan).  Also, because of such a large building and the design for a huge dome, new ideas were implemented to secure its stability.  This marks more innovative architectural style for this century as Hagia Sophia was the first structure to be designed with unfamiliar techniques despite Roman influence.  Hagia Sophia continues to awe countless tourists and locals today of its unique beauty and grandeur.\r\n\r\nDuring this time, Hagia Sophia was very appealing to other states and empires and was attacked multiple times.  It was not until the Ottoman Turks was the reign of Christianity diminished and the cathedral was turned into a mosque.  The Hagia Sophia was considered to be the center of religious life in the Eastern Orthodox world and was respected for its intricate design and interior richness (Eastern).  Hagia Sophia was praised for the brilliant architecture and beauty of such a religious place of worship whether it was for the Byzantines or the Turks.  We continue to see this praise throughout the centuries as it still stands proudly in Istanbul.\r\n\r\nWith such a monumental and historic element of early Christianity and architecture still existent in the twenty-first century, it is practically impossible for people to miss and not love what their eyes show them.  Today, Hagia Sophia is now preserved as a museum where the ruins and remains that bear characteristics of the fifth and sixth century can be viewed by the public (Altan).  People all over the world visit this museum to view the detail and the artistry of the architectural building.  It has risen in popularity throughout the years in Turkey.  Also, because of its design, architects today still study Hagia Sophia for inspiration and further influences in Christian and non-Christian religions all over the world.  Altan praises, “[Hagia Sophia] should be one of the first things to see on your trip to Istanbul.”  He further suggests, “Make sure you visit the second mezzanine level to see the splendid Byzantine mosaics, and get a birds eye view of the insides of the church.”  We can see that although it has been 1500 years since the construction of Hagia Sophia, it is still widely admired for its architectural and historical influence.\r\n\r\nAfter viewing many pictures of both the interior and exterior of the museum, I now have a desire to visit Istanbul for this spectacular, historical monument.  I believe it really portrays its elegance and power of religion as it has survived for so many years despite multiple repairs and transformations.  I was amazed that mankind has been able to maintain Hagia Sophia as it is the oldest surviving church.  I believe it should still be preserved for the future generations to also be given the opportunity to see such a magnificent spectacle that has been so influential and significant to our history.\r\n\r\nChristian buildings continued to be built all around the world with similar ideas in mind to that of Hagia Sophia.  Among these famous buildings is the massive St. Peter’s Basilica in Rome that was initially built by Constantine during the fourth century and rebuilt during the Renaissance (St. Peter’s).  Hagia Sophia was also initially founded by Constantine around the same time period as he was rebuilding his Byzantine empire.  Secondly, Hagia Sophia was rebuilt to its structure that stands today, like St. Peter’s Basilica.  Because of the influence of Roman architecture during Justinian’s reign, both buildings constructed domes supported by four piers (St. Peter’s).  We can understand by these similarities that Christians wanted to create the “heavens” for those who came to worship.  The dome has been influential to many religious edifices throughout the years and these two have continued to earn praise world-wide.  Lastly, the immense size of both Hagia Sophia and St. Peter’s Basilica makes it easy to gain fame.  Both have acquired the title of the largest church in the world.  People all over the world gather at the architectural design and richness inside and out, with the enormous size of a historical monument drawing their attention in.  Hagia Sophia and St. Peter’s Basilica have both been acknowledged for their beauty and religious history as they are major relics of early Christianity that still stand today.\r\n\r\nDespite their similarities, both still hold true to their unique characteristics.  Unlike St. Peter’s Basilica continuing to stand as a church, Hagia Sophia was converted into a mosque and later into a museum.  Hagia Sophia was also not built over a saint’s tomb.  “St. Peter\'s Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried” (St. Peter’s).  This early Christian church was strictly used for Christianity with 140 statues of saints surrounding the St. Peter’s Square (St. Peter’s).  Hagia Sophia was limited in statues in the exterior and mainly focused on the dome.  Although both structures used the dome, Michelangelo uniquely designed the dome to be a parabola rather than a hemisphere.  Architectural styles throughout the centuries have illustrated the architects’ dreams to portray to the public.  Hagia Sophia and St. Peter’s Basilica both have their own unique tastes that have given them their name.\r\n\r\nHagia Sophia is the oldest church that has historically been a part of early Christianity and non-Christianity.  It has provided a place for people to worship and a place for architects to be influenced by.  The influences of religious buildings today are evidences of the impact that Hagia Sophia has made to civilization.  It should be maintained for future generations to view the intricate detail and love for such a spectacle in history despite the multiple transformations.  It’s strength of still standing today has proven it’s capacity to live on and continue its influences to society.\r\n\r\n<!--more-->Works Cited\r\n\r\nAltan, Al.  “Hagia Sophia.”  <em>Hagia Sophia</em>.  Focus <a title=\"Mediterranean\" href=\"http://www.focusmm.com/\">Mediterranean</a> Magazine.  2007.  Web.  28 February 2011.              <a href=\"http://www.focusmm.com/civilization/hagia/sofia.htm\">http://www.focusmm.com/civilization/hagia/sofia.htm</a>.\r\nI used this website to help me describe Hagia Sophia.\r\n\r\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed. Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nI used this reference to help me with the historical context and its influences.\r\n\r\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 18 Mar. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\r\n\r\nI used this reference to explain how society had received Hagia Sophia and to further convince its significance.\r\n\r\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen  Christensen  and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this to help me describe the setting and some historical context occurring during the time period.\r\n\r\nKarabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34%0924600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34            24600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this referenced to help me convince its significance for the future.\r\n\r\n&nbsp;\r\n\r\n“St. Peter’s Basilica, Rome.”  <em>Sacred Destinations. </em>Sacred Destinations.  2005.    Web.  9 March 2011.\r\n\r\n<a href=\"http://www.sacred-destinations.com/italy/rome-st-peters-basilica\">http://www.sacred-destinations.com/italy/rome-st-peters-basilica</a>.\r\n\r\nI used this website to help me compare St. Peter’s Basilica to Hagia Sophia.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">&nbsp;</p>','Hagia Sophia','','inherit','open','open','','756-revision-8','','','2011-03-23 22:12:11','2011-03-24 04:12:11','',756,'http://jeanatacc.com/2011/?p=797',0,'revision','',0),(798,9,'2011-03-23 22:12:37','2011-03-24 04:12:37','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\r\nAcclaimed for its beauty and splendid architecture, Hagia Sophia, a Byzantine monument now preserved as a museum, has survived centuries of attack, religious riot destructions, and multiple transformations.  <!--more-->Hagia Sophia was built in Constantinople, now Istanbul, by the emperor Justinian in 532 originally as a Christian church.  However, because of the appealing location and trade that drove the city to success, Constantinople was constantly attacked and ultimately claimed by the Turks in the fifteenth century (Istanbul).  Thus, Hagia Sophia was converted into a mosque used for almost 500 years until it was finally transformed into a museum in 1935.  Despite these strenuous events on the “Great Church” throughout the years, it continues to stand just as strong and as elegant as it was viewed in its prime.  It has been an inspiration for modern architectural style used for grand buildings as well as marking the gradual rise to Christianity throughout the world. Hagia Sophia should therefore be acknowledged and saved for future generations for its importance in the development of society through architectural style and religious beliefs.\r\n\r\nHagia Sophia became the jewel of early Christianity.  “It was by far the largest and most splendid religious edifice in all of Christendom” (Eastern).  Originally named Megale Ekklesia (the Great Church), Hagia Sophia also took on the name “Holy Wisdom”.  Emperor Justinian made sure that his creation would be the most unique and magnificent church of all the early Christian churches.  He succeeded as “the finest and rarest materials from the four corners of the empire were brought to Constantinople to be used in the construction of Hagia Sophia” (Altan).  Altan further describes the splendor with a revolutionary architectural style—the dome.  The dome was a representation of “the vault of heavens” and thus introduced a quasi-liturgical feature to the architecture.  The dome was placed atop the building, 210 feet above the floor with a diameter of 110 feet, which was thus supported by four strong piers.  Light is admitted into the interior through forty windows on the dome.  This 260 x 270 foot grand structure unfortunately had to constantly be repaired because of natural disasters such as earthquakes (Altan).  However, the invasion of the Ottoman Turks concluded the Christian hold on the Hagia Sophia and further reconstruction and transformation was done to convert it into a mosque.  Despite the transformation, Hagia Sophia continues to influence many Christian and Islamic architectural buildings today.\r\n\r\nAs Christianity continued to spread throughout Europe, much of the spiritual and political excitement was centered on the city of Constantinople, the capital of the Byzantine and Ottoman empires.  After officially declaring Christianity as the state religion, the emperor Constantine helped spark the beginning of holy Christian buildings across the empire (Churches 125).  Because Christians were very precise on building large, enclosed spaces for worship, the basilica, previously used in Rome, was thus reintroduced to architecture during this period.  “Basilicas were large, rectangular structures with high, vaulted roofs of timber beams supported by columns” (125).  Later, Roman influences in architecture reappeared in churches.  The famous Hagia Sophia, started using the domed structure.  Also, because Christianity was rapidly growing and the desire to be acknowledged separately from paganism increased, Christians intricately designed the interiors of the churches built with colored marble, detailed mosaics, and grand paintings. With the thought of honoring God with the richness of the decorations, they “also reflected the growing wealth and power of Christianity” (126).\r\n\r\nWhen Hagia Sophia was built in the sixth century, the role of Christianity was changing and shaping moral and cultural values of society.  Hagia Sophia was typical of its era because of the architectural style it was built upon.  Christians wanted to separate from the pagan temples that were either non-Christian or polytheistic (Churches 125).  Therefore, they adapted Roman architectural techniques which can be observed today.  Constructing structures and elements of Roman architecture was the general idea of building Christian buildings, and because the dome was first introduced in Rome, Hagia Sophia had fit into the cultural context of religious architecture.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years until St. Peter’s Basilica was built in Rome (Altan).  Also, because of such a large building and the design for a huge dome, new ideas were implemented to secure its stability.  This marks more innovative architectural style for this century as Hagia Sophia was the first structure to be designed with unfamiliar techniques despite Roman influence.  Hagia Sophia continues to awe countless tourists and locals today of its unique beauty and grandeur.\r\n\r\nDuring this time, Hagia Sophia was very appealing to other states and empires and was attacked multiple times.  It was not until the Ottoman Turks was the reign of Christianity diminished and the cathedral was turned into a mosque.  The Hagia Sophia was considered to be the center of religious life in the Eastern Orthodox world and was respected for its intricate design and interior richness (Eastern).  Hagia Sophia was praised for the brilliant architecture and beauty of such a religious place of worship whether it was for the Byzantines or the Turks.  We continue to see this praise throughout the centuries as it still stands proudly in Istanbul.\r\n\r\nWith such a monumental and historic element of early Christianity and architecture still existent in the twenty-first century, it is practically impossible for people to miss and not love what their eyes show them.  Today, Hagia Sophia is now preserved as a museum where the ruins and remains that bear characteristics of the fifth and sixth century can be viewed by the public (Altan).  People all over the world visit this museum to view the detail and the artistry of the architectural building.  It has risen in popularity throughout the years in Turkey.  Also, because of its design, architects today still study Hagia Sophia for inspiration and further influences in Christian and non-Christian religions all over the world.  Altan praises, “[Hagia Sophia] should be one of the first things to see on your trip to Istanbul.”  He further suggests, “Make sure you visit the second mezzanine level to see the splendid Byzantine mosaics, and get a birds eye view of the insides of the church.”  We can see that although it has been 1500 years since the construction of Hagia Sophia, it is still widely admired for its architectural and historical influence.\r\n\r\nAfter viewing many pictures of both the interior and exterior of the museum, I now have a desire to visit Istanbul for this spectacular, historical monument.  I believe it really portrays its elegance and power of religion as it has survived for so many years despite multiple repairs and transformations.  I was amazed that mankind has been able to maintain Hagia Sophia as it is the oldest surviving church.  I believe it should still be preserved for the future generations to also be given the opportunity to see such a magnificent spectacle that has been so influential and significant to our history.\r\n\r\nChristian buildings continued to be built all around the world with similar ideas in mind to that of Hagia Sophia.  Among these famous buildings is the massive St. Peter’s Basilica in Rome that was initially built by Constantine during the fourth century and rebuilt during the Renaissance (St. Peter’s).  Hagia Sophia was also initially founded by Constantine around the same time period as he was rebuilding his Byzantine empire.  Secondly, Hagia Sophia was rebuilt to its structure that stands today, like St. Peter’s Basilica.  Because of the influence of Roman architecture during Justinian’s reign, both buildings constructed domes supported by four piers (St. Peter’s).  We can understand by these similarities that Christians wanted to create the “heavens” for those who came to worship.  The dome has been influential to many religious edifices throughout the years and these two have continued to earn praise world-wide.  Lastly, the immense size of both Hagia Sophia and St. Peter’s Basilica makes it easy to gain fame.  Both have acquired the title of the largest church in the world.  People all over the world gather at the architectural design and richness inside and out, with the enormous size of a historical monument drawing their attention in.  Hagia Sophia and St. Peter’s Basilica have both been acknowledged for their beauty and religious history as they are major relics of early Christianity that still stand today.\r\n\r\nDespite their similarities, both still hold true to their unique characteristics.  Unlike St. Peter’s Basilica continuing to stand as a church, Hagia Sophia was converted into a mosque and later into a museum.  Hagia Sophia was also not built over a saint’s tomb.  “St. Peter\'s Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried” (St. Peter’s).  This early Christian church was strictly used for Christianity with 140 statues of saints surrounding the St. Peter’s Square (St. Peter’s).  Hagia Sophia was limited in statues in the exterior and mainly focused on the dome.  Although both structures used the dome, Michelangelo uniquely designed the dome to be a parabola rather than a hemisphere.  Architectural styles throughout the centuries have illustrated the architects’ dreams to portray to the public.  Hagia Sophia and St. Peter’s Basilica both have their own unique tastes that have given them their name.\r\n\r\nHagia Sophia is the oldest church that has historically been a part of early Christianity and non-Christianity.  It has provided a place for people to worship and a place for architects to be influenced by.  The influences of religious buildings today are evidences of the impact that Hagia Sophia has made to civilization.  It should be maintained for future generations to view the intricate detail and love for such a spectacle in history despite the multiple transformations.  It’s strength of still standing today has proven it’s capacity to live on and continue its influences to society.\r\n\r\n<!--more-->Works Cited\r\n\r\nAltan, Al.  “Hagia Sophia.”  <em>Hagia Sophia</em>.  Focus <a title=\"Mediterranean\" href=\"http://www.focusmm.com/\">Mediterranean</a> Magazine.  2007.  Web.  28 February 2011.              <a href=\"http://www.focusmm.com/civilization/hagia/sofia.htm\">http://www.focusmm.com/civilization/hagia/sofia.htm</a>.\r\nI used this website to help me describe Hagia Sophia.\r\n\r\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed. Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nI used this reference to help me with the historical context and its influences.\r\n\r\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 18 Mar. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\r\n\r\nI used this reference to explain how society had received Hagia Sophia and to further convince its significance.\r\n\r\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen  Christensen  and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this to help me describe the setting and some historical context occurring during the time period.\r\n\r\nKarabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34%0924600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34            24600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this referenced to help me convince its significance for the future.\r\n\r\n&nbsp;\r\n\r\n“St. Peter’s Basilica, Rome.”  <em>Sacred Destinations. </em>Sacred Destinations.  2005.    Web.  9 March 2011.\r\n\r\n<a href=\"http://www.sacred-destinations.com/italy/rome-st-peters-basilica\">http://www.sacred-destinations.com/italy/rome-st-peters-basilica</a>.\r\n\r\nI used this website to help me compare St. Peter’s Basilica to Hagia Sophia.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">&nbsp;</p>','Hagia Sophia','','inherit','open','open','','756-revision-9','','','2011-03-23 22:12:37','2011-03-24 04:12:37','',756,'http://jeanatacc.com/2011/?p=798',0,'revision','',0),(799,37,'2011-04-11 13:40:36','2011-04-11 19:40:36','TCP#2: San Vitale, Ravenna\n\nThe San Vitale Basilica or Basilica di San Vitale is located in the city of Ravenna in Italy which is a city located in the central part of Italy. The San Vitale Basilica construction started by the Bishop of Ravenna name Ecclesius after he returned from a trip from Byzantium where he met with Pope John in 526.  The construction of the Basilica Started in the site where the martyrdom of ST. Vitalis occurred and the basilica project was almost entirely funded by a wealthy person at that time named Julianus Argentarius who was a powerful person in Ravenna. The name of the architect of the basilica remains unknown till this day but it is important to mention that the basilica construction started during the time where the Goths were in control of Ravenna but the basilica was later finished during the times where the Byzantine rule Ravenna around 548 (Bovini).<!--more-->\n\nThe Basilica of San Vitale is fascinating in its design and structure because it is not purely a byzantine building or a Christian building, but it is a combination of both the Roman style and the byzantine style, which make it unique in appearance and beauty. The exterior of the Basilica of San Vitale is an octagonal structure composed with a small dome, which was typical of Byzantine architecture, also the octagonal plan have two stories closing a central space beneath a great cupola. Another characteristic of the exterior is that there is a porch attached at an angle in the west side of the structure and to the east there is a small choir and apse. The interior of the Basilica of San Vitale is decorated with 18<sup>Th</sup> century murals like in the cupola but the rest of the interior is decorated in a byzantine style, also one of the most notorious part of the interior of the Basilica are the Byzantine mosaics that are located in the ceilings of the choir and apse (Garotti).\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale.jpg\"><img class=\"alignleft size-medium wp-image-716\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nThere is an arch that establishes the entrance to the presbytery and that part is decorated with mosaics that depict Christ, the apostles and some saints. The Presbytery or the Choir has many mosaics and its ceilings and walls have mosaics representing the Eucharist service, the left wall of the presbytery is characterized by mosaics representing the life of Abraham and the mosaics present stories like the one that Abraham is close to sacrifice his son in order to follow God wishes. On the right wall of the Presbytery is characterized by mosaics depicting Moses and some prophets, most of the mosaics have some sort of animals accompanying the main characters of the mosaics. Then there is the Presbytery vault, which is decorated with brilliant gold, green, blue colors and with small animals. Then there\n\n<a href=\"http://famouswonders.com/basilica-of-san-vitale/\">http://famouswonders.com/basilica-of-san-vitale/</a>\n\nare the apse mosaics that dated from 526-547 AD and presents a full shave Jesus with San Vitale flanking him and with Bishop Ecclesius and a couple of angels, Also some mosaics depict emperor Justinian who was one of the biggest emperor of the Byzantine empire (MacDonald).\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa.jpg\"><img class=\"aligncenter size-medium wp-image-717\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>\n<p style=\"text-align: center\"><a href=\"http://picasaweb.google.com/lh/photo/7JCIjgN5CmMt7zR78tg12A\">http://picasaweb.google.com/lh/photo/7JCIjgN5CmMt7zR78tg12A</a></p>\nThe 6<sup>Th</sup> century period is characterized by the fall of the Roman Empire and this period represents a point of changes and devastation especially in the Roman Empire. During this period one main characteristic was the spread of Catholicism in the west and dethroned Arianism as the main religion in the west. In a way that allows more unity regarding religion and the 6<sup>th</sup> is described as the period of a great emperor named Justinian. During this period Italy was in ruins and many people die to the devastation and war that lasted many years, also the roman empire suffer from the devastation of earthquakes and the invasion of other empires like the Persians. One huge event I think for this period is what happened from all this devastation and that was basically that the population dropped dramatically in Rome below 100,000 and also another aspect is that Latin lost some traction in society and Greek became very preponderant in some parts. During the 6<sup>th</sup> century the Byzantine empire led by emperor Justinian the Great who came to power in AD 527 and returned the glory to the empire by making some changes in the way the legal system and how things were administered in the empire and also emperor Justinian allow and promote the construction of many churches and many mosaics that ended up promoting Christianity. Emperor Justinian was married to a famous ex-courtesan name Theodora and one of their mosaic where both appear facing each other is located in the Basilica of San Vitale. Theodora play a big role in governing the empire and in the making of the important decisions and is she is attributed with helping emperor Justinian made the decision of staying in Constantinople when there was a revolt in AD 532. In AD 537 architects working on the church of Santa Sofia made great developments in construction by being able to place a dome on top of a square formed of four arches. Another development during this period was the promotion of many reforms in the way the civil services were administered with the idea that corruption should be controlled and also with the idea of how to better collected the tax, these measures at the beginning were very unpopular because many did not wanted any change, only after many years pass by the reforms made by Justinian promote are seen as innovative and important. Another development conducted by emperor Justinian was the appointment of a commission of ten men that were in charged of checking was happened during past administrations so in way they were fiscalizing previous governments. Also the commission was in charge of giving a pure version of the constitution and they did by publishing what is known as the Codex  Constitutionum  which is basically a constitution that was published in AD 529. Later in AD 534 the constitutions was modified by a new text named Digesta  which became the new codex. The Codex of AD 534 is what is currently known as the Justinian code of law and consists basically of 12 books with more than 4,000 laws (Ostrogorsky).\n\nThe early Christian architecture involved the construction of two types of buildings: the basilicas that were designed for worship and as a place for people to meet and the other type of buildings were the martyrium which served as a place where people that have died could be venerated. Some of the main characteristics of Byzantine art are the idea that things should go out of the ordinary and into the extraordinary. In architecture there was a focus for aesthetic detail like for example the use of walls that are supposed to look like curtains and that are supporting a dome and also the use of marble and gold was very common in byzantine art. Byzantine art had an especial focus on Christian ideas and also the decoration of buildings particularly inside them was very detail oriented and with many ornaments. The greatest building in the Byzantine Empire was Hagia Sophia, which is also known as the church of the divine wisdom in Constantinople that was build by emperor Justinian. During the 6<sup>th</sup> century many developments happened in mathematics and also in art to a degree that the period is consider a golden age for byzantine art. For example the architect of the basilica of Hagia Sophia named Anthemius mentioned that architecture needed the use of mathematics in order to transform the solid matter and molded into spectacular shapes. Byzantine art also used materials considered the best at that time like granite and marble, the structures were also full of mosaics like the ones present in the Basilica of San Vitale in Ravenna (Cormack).\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128.jpg\"><img class=\"aligncenter size-medium wp-image-719\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>\n<p style=\"text-align: center\"> </p>\nAccording to Krautheimer The Basilica of San Vitale is thttp://www.sacred-destinations.com/italhe only building or structure outside of Constantinople that really approaches the level of elegance and sophistication of the Byzantine structures like Hagia Sophia. Usually when people talk about the basilica of San vitale they do it because it offers a way to determine the main characteristics of Byzantine buildings and also the basilica serves as a way to analyze western imperial designs. The design of the Basilica of San Vitale was inspired by the design of the basilica of Hagia Sophia in Constantinople and one of the main purposes for the developing of the Basilica of San Vitale at the beginning was to have a building that surpass by far any other building in the west especially the Arian Cathedral known as San Apollonaire Nuovo that was built by Theodoric. The design of the Basilica of San Vitale is more simplistic that the one of the basilica of Hagia Sophia but it has a complexity in the volumes and the spatial vistas, for example the interior of the basilica is complex with many overlapping vistas that have no comparison not even in Constantinople, which made the Basilica of san Vitale as one of the Great buildings in the west during the 6<sup>th</sup> century.\n\nIn my opinion the Basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century because of its sheer beauty and the incredible mosaics. Although I have not visited the basilica in person I can tell that the mixture of roman architecture like the doomed roof or the arches in doorways and Byzantine architecture like the polygonal shapes use and detailed of the work make the basilica a unique building not only in the 6<sup>th</sup> century but also till this day. Another aspect that in my opinion is interesting is symbolism and the sacred objects used in the basilica, for example, there are many mosaics that depict events from the Old Testament like the story of Abraham, the story of Cain and Abel among some of them. Another aspect that can put into perspective of how important the Basilica was at the time of its creation is that according to my research during the splendor of the Byzantine Empire many people travel to Ravenna that was a big city in the empire in order to witness such an extraordinary structure. In a way the basilica is more than a marvelous structure and building but also a place where people can look and traced back some of the roots and ideas of one of the biggest empires the world have ever seen.\n\n<strong>Works Cited</strong>\n\n-Krautheimer, Richard. Early Christian and Byzantine Architecture. Baltimore: Penguin Books. 1965\n\n-Bovini, Guiseppe. Ravenna: Art and History . Publisher: Longo (1978)\n\n-Ostrogorsky, George. History of the Byzantine State. Rutgers.The State University of New Jersey. 1997\n\n-MacDonald,  L. William. Early Christian and Byzantine architecture. New York . 1962\n\n-Garotti. G. A History of Art. Volume 2. Publisher: E.P Dutton . New York. 1909\n\n-Cormack, robin. Byzantine Art (Oxford History of Art). Oxford university Press. 2000.','San Vitale Basilica, Ravenna (TCP#2)','','inherit','open','open','','715-autosave','','','2011-04-11 13:40:36','2011-04-11 19:40:36','',715,'http://jeanatacc.com/2011/?p=799',0,'revision','',0),(800,1,'2011-03-23 22:12:48','2011-03-24 04:12:48','<img class=\"aligncenter\" src=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\" alt=\"\" width=\"456\" height=\"290\" />\r\n<p style=\"text-align: center\"><a href=\"http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg\">http://www.awesomeplanet.org/wp-content/uploads/2009/01/hagia-sophia-04.jpg</a></p>\r\nAcclaimed for its beauty and splendid architecture, Hagia Sophia, a Byzantine monument now preserved as a museum, has survived centuries of attack, religious riot destructions, and multiple transformations.  <!--more-->Hagia Sophia was built in Constantinople, now Istanbul, by the emperor Justinian in 532 originally as a Christian church.  However, because of the appealing location and trade that drove the city to success, Constantinople was constantly attacked and ultimately claimed by the Turks in the fifteenth century (Istanbul).  Thus, Hagia Sophia was converted into a mosque used for almost 500 years until it was finally transformed into a museum in 1935.  Despite these strenuous events on the “Great Church” throughout the years, it continues to stand just as strong and as elegant as it was viewed in its prime.  It has been an inspiration for modern architectural style used for grand buildings as well as marking the gradual rise to Christianity throughout the world. Hagia Sophia should therefore be acknowledged and saved for future generations for its importance in the development of society through architectural style and religious beliefs.\r\n\r\nHagia Sophia became the jewel of early Christianity.  “It was by far the largest and most splendid religious edifice in all of Christendom” (Eastern).  Originally named Megale Ekklesia (the Great Church), Hagia Sophia also took on the name “Holy Wisdom”.  Emperor Justinian made sure that his creation would be the most unique and magnificent church of all the early Christian churches.  He succeeded as “the finest and rarest materials from the four corners of the empire were brought to Constantinople to be used in the construction of Hagia Sophia” (Altan).  Altan further describes the splendor with a revolutionary architectural style—the dome.  The dome was a representation of “the vault of heavens” and thus introduced a quasi-liturgical feature to the architecture.  The dome was placed atop the building, 210 feet above the floor with a diameter of 110 feet, which was thus supported by four strong piers.  Light is admitted into the interior through forty windows on the dome.  This 260 x 270 foot grand structure unfortunately had to constantly be repaired because of natural disasters such as earthquakes (Altan).  However, the invasion of the Ottoman Turks concluded the Christian hold on the Hagia Sophia and further reconstruction and transformation was done to convert it into a mosque.  Despite the transformation, Hagia Sophia continues to influence many Christian and Islamic architectural buildings today.\r\n\r\nAs Christianity continued to spread throughout Europe, much of the spiritual and political excitement was centered on the city of Constantinople, the capital of the Byzantine and Ottoman empires.  After officially declaring Christianity as the state religion, the emperor Constantine helped spark the beginning of holy Christian buildings across the empire (Churches 125).  Because Christians were very precise on building large, enclosed spaces for worship, the basilica, previously used in Rome, was thus reintroduced to architecture during this period.  “Basilicas were large, rectangular structures with high, vaulted roofs of timber beams supported by columns” (125).  Later, Roman influences in architecture reappeared in churches.  The famous Hagia Sophia, started using the domed structure.  Also, because Christianity was rapidly growing and the desire to be acknowledged separately from paganism increased, Christians intricately designed the interiors of the churches built with colored marble, detailed mosaics, and grand paintings. With the thought of honoring God with the richness of the decorations, they “also reflected the growing wealth and power of Christianity” (126).\r\n\r\nWhen Hagia Sophia was built in the sixth century, the role of Christianity was changing and shaping moral and cultural values of society.  Hagia Sophia was typical of its era because of the architectural style it was built upon.  Christians wanted to separate from the pagan temples that were either non-Christian or polytheistic (Churches 125).  Therefore, they adapted Roman architectural techniques which can be observed today.  Constructing structures and elements of Roman architecture was the general idea of building Christian buildings, and because the dome was first introduced in Rome, Hagia Sophia had fit into the cultural context of religious architecture.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years until St. Peter’s Basilica was built in Rome (Altan).  Also, because of such a large building and the design for a huge dome, new ideas were implemented to secure its stability.  This marks more innovative architectural style for this century as Hagia Sophia was the first structure to be designed with unfamiliar techniques despite Roman influence.  Hagia Sophia continues to awe countless tourists and locals today of its unique beauty and grandeur.\r\n\r\nDuring this time, Hagia Sophia was very appealing to other states and empires and was attacked multiple times.  It was not until the Ottoman Turks was the reign of Christianity diminished and the cathedral was turned into a mosque.  The Hagia Sophia was considered to be the center of religious life in the Eastern Orthodox world and was respected for its intricate design and interior richness (Eastern).  Hagia Sophia was praised for the brilliant architecture and beauty of such a religious place of worship whether it was for the Byzantines or the Turks.  We continue to see this praise throughout the centuries as it still stands proudly in Istanbul.\r\n\r\nWith such a monumental and historic element of early Christianity and architecture still existent in the twenty-first century, it is practically impossible for people to miss and not love what their eyes show them.  Today, Hagia Sophia is now preserved as a museum where the ruins and remains that bear characteristics of the fifth and sixth century can be viewed by the public (Altan).  People all over the world visit this museum to view the detail and the artistry of the architectural building.  It has risen in popularity throughout the years in Turkey.  Also, because of its design, architects today still study Hagia Sophia for inspiration and further influences in Christian and non-Christian religions all over the world.  Altan praises, “[Hagia Sophia] should be one of the first things to see on your trip to Istanbul.”  He further suggests, “Make sure you visit the second mezzanine level to see the splendid Byzantine mosaics, and get a birds eye view of the insides of the church.”  We can see that although it has been 1500 years since the construction of Hagia Sophia, it is still widely admired for its architectural and historical influence.\r\n\r\nAfter viewing many pictures of both the interior and exterior of the museum, I now have a desire to visit Istanbul for this spectacular, historical monument.  I believe it really portrays its elegance and power of religion as it has survived for so many years despite multiple repairs and transformations.  I was amazed that mankind has been able to maintain Hagia Sophia as it is the oldest surviving church.  I believe it should still be preserved for the future generations to also be given the opportunity to see such a magnificent spectacle that has been so influential and significant to our history.\r\n\r\nChristian buildings continued to be built all around the world with similar ideas in mind to that of Hagia Sophia.  Among these famous buildings is the massive St. Peter’s Basilica in Rome that was initially built by Constantine during the fourth century and rebuilt during the Renaissance (St. Peter’s).  Hagia Sophia was also initially founded by Constantine around the same time period as he was rebuilding his Byzantine empire.  Secondly, Hagia Sophia was rebuilt to its structure that stands today, like St. Peter’s Basilica.  Because of the influence of Roman architecture during Justinian’s reign, both buildings constructed domes supported by four piers (St. Peter’s).  We can understand by these similarities that Christians wanted to create the “heavens” for those who came to worship.  The dome has been influential to many religious edifices throughout the years and these two have continued to earn praise world-wide.  Lastly, the immense size of both Hagia Sophia and St. Peter’s Basilica makes it easy to gain fame.  Both have acquired the title of the largest church in the world.  People all over the world gather at the architectural design and richness inside and out, with the enormous size of a historical monument drawing their attention in.  Hagia Sophia and St. Peter’s Basilica have both been acknowledged for their beauty and religious history as they are major relics of early Christianity that still stand today.\r\n\r\nDespite their similarities, both still hold true to their unique characteristics.  Unlike St. Peter’s Basilica continuing to stand as a church, Hagia Sophia was converted into a mosque and later into a museum.  Hagia Sophia was also not built over a saint’s tomb.  “St. Peter\'s Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried” (St. Peter’s).  This early Christian church was strictly used for Christianity with 140 statues of saints surrounding the St. Peter’s Square (St. Peter’s).  Hagia Sophia was limited in statues in the exterior and mainly focused on the dome.  Although both structures used the dome, Michelangelo uniquely designed the dome to be a parabola rather than a hemisphere.  Architectural styles throughout the centuries have illustrated the architects’ dreams to portray to the public.  Hagia Sophia and St. Peter’s Basilica both have their own unique tastes that have given them their name.\r\n\r\nHagia Sophia is the oldest church that has historically been a part of early Christianity and non-Christianity.  It has provided a place for people to worship and a place for architects to be influenced by.  The influences of religious buildings today are evidences of the impact that Hagia Sophia has made to civilization.  It should be maintained for future generations to view the intricate detail and love for such a spectacle in history despite the multiple transformations.  It’s strength of still standing today has proven it’s capacity to live on and continue its influences to society.\r\n\r\n<!--more-->Works Cited\r\n\r\nAltan, Al.  “Hagia Sophia.”  <em>Hagia Sophia</em>.  Focus <a title=\"Mediterranean\" href=\"http://www.focusmm.com/\">Mediterranean</a> Magazine.  2007.  Web.  28 February 2011.              <a href=\"http://www.focusmm.com/civilization/hagia/sofia.htm\">http://www.focusmm.com/civilization/hagia/sofia.htm</a>.\r\nI used this website to help me describe Hagia Sophia.\r\n\r\n\"Churches and Basilicas.\" <em>Ancient Greece and Rome</em>: <em>An Encyclopedia for Students</em>. Ed. Carroll Moulton. Vol. 1. New York: Charles Scribner\'s Sons, 1998. 124-126. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX2897200092&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nI used this reference to help me with the historical context and its influences.\r\n\r\n\"Eastern Orthodoxy.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 18 Mar. 2011. <a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/177174/Eastern-Orthodoxy</a>.\r\n\r\nI used this reference to explain how society had received Hagia Sophia and to further convince its significance.\r\n\r\n\"Istanbul—World Heritage Site.\" <em>Encyclopedia of Modern Asia</em>. Ed. Karen  Christensen  and David Levinson. Vol. 3. New York: Charles Scribner\'s Sons, 2002. 187. <em>Gale Virtual Reference Library</em>. Web. 21 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3403701394&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this to help me describe the setting and some historical context occurring during the time period.\r\n\r\nKarabell, Zachary. \"Aya Sofya.\" <em>Encyclopedia of the Modern Middle East and North Africa</em>. Ed. Philip Mattar. 2nd ed. Vol. 1. New York: Macmillan Reference USA, 2004. 342-343. <em>Gale Virtual Reference Library</em>. Web. 9 Mar. 2011.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34%0924600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX34            24600375&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>.\r\n\r\nI used this referenced to help me convince its significance for the future.\r\n\r\n&nbsp;\r\n\r\n“St. Peter’s Basilica, Rome.”  <em>Sacred Destinations. </em>Sacred Destinations.  2005.    Web.  9 March 2011.\r\n\r\n<a href=\"http://www.sacred-destinations.com/italy/rome-st-peters-basilica\">http://www.sacred-destinations.com/italy/rome-st-peters-basilica</a>.\r\n\r\nI used this website to help me compare St. Peter’s Basilica to Hagia Sophia.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">&nbsp;</p>','Hagia Sophia','','inherit','open','open','','756-revision-10','','','2011-03-23 22:12:48','2011-03-24 04:12:48','',756,'http://jeanatacc.com/2011/?p=800',0,'revision','',0),(801,22,'2011-05-13 19:58:13','2011-05-14 01:58:13',' \n<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/Basilica_of_St_Denis\">http://en.wikipedia.org/wiki/Basilica_of_St_Denis</a></p>\n(Rebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior.)<strong><em> Bony, J  </em></strong>Sculptures on the church portaldeveloped into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of Lutenia (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church in here to commemorate his name whose burial site begun to attract many pilgrims. The church of ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\n<p style=\"text-align: left\">The church of ST. Denis has been recognized for many different reasons, amount the most important was that ST. Denis church was one of the first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church .\nIn contrast to the Romanesque church , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was like  a web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension.( Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone.  )M<em><strong>ichel.1973 </strong></em>Increasingly, images of Mary and  her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that reflects the popular equation of precious gems with sacred glass.(Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven.)<em><strong>Williamson, P</strong></em> The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church, however , Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\n<p style=\"text-align: left\">(Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.)\n<em><strong>Charles, W. 1988 </strong></em>Saint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. In fact, the main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751,let the only remaining intact column sculpture of a king from Saint-Denis, Now is preserved at the Metropolitan Museum of Art in New York. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\n<p style=\"text-align: left\">Work cited</p>\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\nAngeles, and London, University of California Press.</p>\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture Vol.4 No.2 of Athena Review. London, university of California Press.</p>\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-autosave','','','2011-05-13 19:58:13','2011-05-14 01:58:13','',790,'http://jeanatacc.com/2011/?p=801',0,'revision','',0),(802,1,'2011-03-23 20:10:20','2011-03-24 02:10:20','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" class=\"alignleft size-full wp-image-792\" /></a>                                      \r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n\r\nThe church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   . \r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction. \r\n The church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders. \r\n\r\nFragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born. \r\n\r\n                                             Work cited \r\n\r\n\r\nBony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los \r\nAngeles, and London, University of California Press. \r\n \r\n\r\nWilliamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press. \r\n\r\nCharles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press. \r\n\r\nThe humanistic tradition vol. 1 Fiero 6e. \r\n\r\nMichel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.\r\n','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-5','','','2011-03-23 20:10:20','2011-03-24 02:10:20','',790,'http://jeanatacc.com/2011/?p=802',0,'revision','',0),(803,1,'2011-03-26 17:17:16','2011-03-26 23:17:16','<p style=\"text-align: left;\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" />\r\n\r\n\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.</p>\r\n<p style=\"text-align: left;\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left;\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left;\">Work cited</p>\r\n<p style=\"text-align: left;\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left;\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left;\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left;\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left;\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-6','','','2011-03-26 17:17:16','2011-03-26 23:17:16','',790,'http://jeanatacc.com/2011/?p=803',0,'revision','',0),(843,22,'2011-03-30 18:27:56','2011-03-31 00:27:56','<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-8','','','2011-03-30 18:27:56','2011-03-31 00:27:56','',790,'http://jeanatacc.com/2011/?p=843',0,'revision','',0),(804,1,'2011-03-22 23:10:24','2011-03-23 05:10:24','            St. Peter’s Basilica (Basilica Papale di San Pietro in Vaticano) is one of the largest Christian churches in the whole world. It was built in Rome during April 18, 1506 to November 18, 1626. It is located in the original site of the Vatican.  The new St. Peter’s basilica was built on the same site that the old Basilica was constructed. The reason that St. Peter’s Basilica should be preserve is because it has a great meaning for the Catholics and all of the art that is preserve from various artists, such as Michelangelo, also one of the creators, and most important that it’s where St. Peter’s was buried.\r\nThe reason that the old basilica was destroyed was because Pope Julius II wanted to rebuild the basilica by making the church bigger and better: “which he stipulated must outshine every other church in Christendom”. (qtd in The High Renaissance) St. Peter’s Basilica was first built by Bramante in 1506.  “Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Giacomo della Porta modified the design and completed the dome.” (Saint Peter\'s Church). \r\nSt. Peter’s Basilica was consuming enormous amounts of money. After Julius death in 1513 Leo X notice the “great crisis of the Protestant Reformation”, he decided to make a sale indulgence in Germany to keep building the basilica (The High Renaissance).  The Basilica contains up to five large volumes: three braces of the original Greek cross, the main nave, and the domed crossing.  The dimensions are a total of 185m, a nave width of 26m, a dome width of 41.5m and height of 120m. Most of the building is done in plaster, stucco or marble. (Francesco) The basilica could hold up to 60,000 people.   \r\nSt. Peter’s Basilica was received with great pride because it was built on the same place where St. Peter was buried (64 CE). Saint Peter was one of the twelve apostolate of Jesus. St. Peter’s grave became the focal point of the building. The Basilica is known as one of the holiest catholic places. It was important in its time because many popes have been interested in giving mass in this basilica for the reason that it’s where St. Peter’s tomb lays, since Saint Peters was the first bishop in Rome.\r\nMany people today still visit the Basilica of St. Peter’s because of many reasons. One of the main reasons is because it has a great meaning to catholic people. The basilica makes them feel spiritual due to the fact that many popes attended there.  As Benedict XVI quoted “In a place, the venerable basilica of the Apostle, that is the heart of the Catholic Church. A beating heart, thanks to the Holy Spirit which keeps it alive, but also thanks to the activity of those who daily ensure its upkeep. Slightly more than 500 years have passed, since the first stone of the second Vatican Basilica was laid. ... And yet it remains a living place, it is not a museum, it is a spiritual organism, and the stones also reflect this vitality.”  People visit the basilica to hear mass, not because it just any basilica to visit. Other people visit the basilica to see the great art work that it has from many years ago.\r\n  I personally seen the basilica has one of the most important basilicas in the whole world. I have visited the basilica and really regret not valuing the time to actually take my time to see the true meaning of the basilica. I thought it was just like any church, but I was wrong. I admire the great history that the basilica has. The basilica for me has a great meaning because its one the most catholic places in the world. I still remember how one the parent’s who also went to the trip to visit the basilica cried because for that parent it was a great honor to be there. And know that I have known the real history behind the basilica also feel really proud of being there.  \r\n  St. Peter’s basilica is important to the future generations because of all the great history that it has and the meaning it has to Catholics. The basilica is a great beauty and has many great art works from famous people and the architecture makes it more important since it was built by many people. What also makes this basilica significant is all the time that it took too built. It took many years to finish the basilica, and thanks to the different people that constructed this basilica it make it unique.\r\n\r\n                                                            Work Cites\r\n\r\nMartellotta, Francesco. \"Identifying acoustical coupling by measurements and prediction-models for St. Peter’s Basilica in Rome.\" Journal of the Acoustical Society of America 126.3 (2009): 1175-1186. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n\"Saint Peter\'s Church.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 28 Feb. 2011.\r\n\r\n<em>St. Peter\'s Basilica</em>. N.p.: Giovanni Paolo Pannini, n.d. Web. 7 Mar. 2011.\r\n\r\n&lt;http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/St._Peter_s_Basilica.html&gt;.\r\n\r\n<em>St Peters Baslica. Org</em>. N.p.: n.p., n.d. Web. 23 Mar. 2011. &lt;http://www.saintpetersbasilica.org/&gt;.\r\n\r\n\"The High Renaissance.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 17-25. <em>Gale Virtual Reference Library</em>. Web. 7 Mar. 2011.','St. Peter\'s Basilica','','inherit','open','open','','776-revision-6','','','2011-03-22 23:10:24','2011-03-23 05:10:24','',776,'http://jeanatacc.com/2011/?p=804',0,'revision','',0),(807,9,'2011-03-27 17:11:26','2011-03-27 23:11:26','<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"360\" height=\"673\" /><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>','Donatello\'s David','','inherit','open','open','','805-revision-2','','','2011-03-27 17:11:26','2011-03-27 23:11:26','',805,'http://jeanatacc.com/2011/?p=807',0,'revision','',0),(808,9,'2011-03-27 17:11:30','2011-03-27 23:11:30','<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"360\" height=\"673\" /><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>','Donatello\'s David','','inherit','open','open','','805-revision-3','','','2011-03-27 17:11:30','2011-03-27 23:11:30','',805,'http://jeanatacc.com/2011/?p=808',0,'revision','',0),(809,9,'2011-03-27 17:12:04','2011-03-27 23:12:04','<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>','Donatello\'s David','','inherit','open','open','','805-revision-4','','','2011-03-27 17:12:04','2011-03-27 23:12:04','',805,'http://jeanatacc.com/2011/?p=809',0,'revision','',0),(3470,1,'2013-10-14 12:32:02','2013-10-14 18:32:02','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco.jpg\"><img class=\"size-medium wp-image-3449 aligncenter\" alt=\"greco\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco-300x265.jpg\" width=\"300\" height=\"265\" /></a> <!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n<p class=\"MsoHeader\" style=\"text-align: center;\" align=\"center\"><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><strong>Agony in the Garden</strong></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">El Greco’s</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">The Agony in the Garden was created early 1590’s. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting “Agony in the garden” by El Greco’s is simply a painting that portrays the experiences Christ encounters in trying to negotiate between life and Death in the Garden of Gethsemane seeing the suffering and pains to be subjected to.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The historical context and what distinguishes El Greco’s Painting from other contemporaries, people like Titian and others, was that El Greco’s was able to introduced detains contained in all the four Gospel accounts while his contemporaries’ was just only on a single text of the Gospel account and also the . El Greco’ did his work composition both horizontally and vertically, this work above was specifically horizontal one which gives a vivid illustration of Christ Agony in the Garden of Gethsemane.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting work by El Greco’s were automatically different from others, because what were typical in its era was merely an artistic work that has a single Gospel account and that has a vertical form of composition style which was the dominant artistic work in its era but El Greco’s brought a whole new dimensions and style to painting when he introduces both as a horizontal and as a vertical composition to his work, and also the study of pictures and symbols in “Visual Arts” was prevalent in El Greco’s era too, and when comparing to other people’s work “none of the Gospels, for example, states that the angel bore a chalice i.e. the golden cup held by the angel symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42). Christ, kneeling in prayer in front of a great rock, faces the angel who gives him strength (Luke 22:41, 43). Beneath the angel, seemingly encased in the mist or cloud on which the heavenly messenger kneels, are the sleeping figures of the disciples Peter, James Major, and John (Matt.26:37;Mark 14:33). At the right, in the distance, Judas approaches, leading the guards of the chief priests who will take Christ captive (John 18:3). And the most astonishing risk taking by El Greco’s in his Painting, the most daring is the sense of discontinuous space created by the apparent enclosure of the sleeping disciples within the cloud underneath the angel: the viewer looks through a sort of whirlwind on which the angel is poised and sees Christ’s followers “a stone’s cast” away (Luke 22:41). The swirling oval of mist, which insulates the disciples from the supernatural event that is transpiring, is balanced at the upper right by a fog that is passing over the edge of the rock. The glaring divine light that emanates from above the angel creates unusually brilliant effects on the red robe of Christ; the robe’s sharply faceted planes range in hue from almost white, on his shoulder, to deepest crimson, in the shadows about his left leg” (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span> </span>El Greco’s work Agony in the Garden, was the most successful artistic work in his era with a clear picture, images visible for a self-explanation to the audience and whoever that cares for the work. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The work of El Greco’s stands out from its peers in the sense that (1). The work was done both as a horizontal and as a vertical composition. (2).The painting is probably the prototype, or at any rates the best Autograph version, of the horizontal type. (3). It draws from all four Gospel accounts. (4). That none of the Gospels, work down by the other artist, for example,<span>  </span>states that the angel bore a chalice but El Greco’s painting did that. (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003). </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">El Greco’s work was the best in his era because in its painting pattern he was able to incorporate the four Gospel accounts both as a horizontal and as a vertical composition, and also in its painting still El Greco’s introduce an angel bearing a chalice which is uncommon to other of its contemporaries painting work which makes El Greco’s unique. (Page 237, El Greco’s of Toledo) <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That El Greco’s painting work is still one of the best and successful artist work which a lot of artist had improve upon due to clarity in the images, the illustration of the four Gospel account on a painting, the visual aspect makes it a stand out and most sort of painting, and most important of all is that it is self-explanation such as an “angel holding a golden cup which symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42)”. (Page 237, El Greco’s of Toledo) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That a Painting work done in the early 1590’s still outstanding till today and had no rival, that the pictures, symbols, visual art is something remarkable, introduction of the four Gospel account in a painting both as an horizontal and as an vertical composition, showing Christ kneeling and praying, and showing an angel carrying a golden cup and others. And El Greco’s brought whole new dimensions to Painting work to past and the present.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Works by such painters as Carpaccio, Bassano, Titian and Tintoretto where each compares to each other’s work with El Greco’s painting was on (1) such as the rock behind Christ, (2) the enclosure of the Apostles in a circle.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting in four Gospel Account, the painting in both as an Horizontal and as an Vertical composition, and the angel holding a golden cup which symbolizes the Passion, and refers to an allusion to Christ’s words, Christ kneeling down etc., and importantly the clarity, visual art, symbols, background of the artist and pictures. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span>      </span>All Work Cited From:</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">1. (El Greco’s of Toledo, Page 237).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">2. (El Greco’s, Page 152 of 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">3. </span>http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</p>','El Greco\'s: Agony in The Garden','','inherit','open','open','','3407-revision-v1','','','2013-10-14 12:32:02','2013-10-14 18:32:02','',3407,'http://jeanatacc.com/2011/?p=3470',0,'revision','',0),(3468,1,'2013-10-14 12:31:46','2013-10-14 18:31:46','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco.jpg\"><img class=\"alignnone size-medium wp-image-3449\" alt=\"greco\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco-300x265.jpg\" width=\"300\" height=\"265\" /></a> <!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n<p class=\"MsoHeader\" style=\"text-align: center;\" align=\"center\"><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><strong>Agony in the Garden</strong></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">El Greco’s</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">The Agony in the Garden was created early 1590’s. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting “Agony in the garden” by El Greco’s is simply a painting that portrays the experiences Christ encounters in trying to negotiate between life and Death in the Garden of Gethsemane seeing the suffering and pains to be subjected to.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The historical context and what distinguishes El Greco’s Painting from other contemporaries, people like Titian and others, was that El Greco’s was able to introduced detains contained in all the four Gospel accounts while his contemporaries’ was just only on a single text of the Gospel account and also the . El Greco’ did his work composition both horizontally and vertically, this work above was specifically horizontal one which gives a vivid illustration of Christ Agony in the Garden of Gethsemane.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting work by El Greco’s were automatically different from others, because what were typical in its era was merely an artistic work that has a single Gospel account and that has a vertical form of composition style which was the dominant artistic work in its era but El Greco’s brought a whole new dimensions and style to painting when he introduces both as a horizontal and as a vertical composition to his work, and also the study of pictures and symbols in “Visual Arts” was prevalent in El Greco’s era too, and when comparing to other people’s work “none of the Gospels, for example, states that the angel bore a chalice i.e. the golden cup held by the angel symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42). Christ, kneeling in prayer in front of a great rock, faces the angel who gives him strength (Luke 22:41, 43). Beneath the angel, seemingly encased in the mist or cloud on which the heavenly messenger kneels, are the sleeping figures of the disciples Peter, James Major, and John (Matt.26:37;Mark 14:33). At the right, in the distance, Judas approaches, leading the guards of the chief priests who will take Christ captive (John 18:3). And the most astonishing risk taking by El Greco’s in his Painting, the most daring is the sense of discontinuous space created by the apparent enclosure of the sleeping disciples within the cloud underneath the angel: the viewer looks through a sort of whirlwind on which the angel is poised and sees Christ’s followers “a stone’s cast” away (Luke 22:41). The swirling oval of mist, which insulates the disciples from the supernatural event that is transpiring, is balanced at the upper right by a fog that is passing over the edge of the rock. The glaring divine light that emanates from above the angel creates unusually brilliant effects on the red robe of Christ; the robe’s sharply faceted planes range in hue from almost white, on his shoulder, to deepest crimson, in the shadows about his left leg” (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span> </span>El Greco’s work Agony in the Garden, was the most successful artistic work in his era with a clear picture, images visible for a self-explanation to the audience and whoever that cares for the work. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The work of El Greco’s stands out from its peers in the sense that (1). The work was done both as a horizontal and as a vertical composition. (2).The painting is probably the prototype, or at any rates the best Autograph version, of the horizontal type. (3). It draws from all four Gospel accounts. (4). That none of the Gospels, work down by the other artist, for example,<span>  </span>states that the angel bore a chalice but El Greco’s painting did that. (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003). </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">El Greco’s work was the best in his era because in its painting pattern he was able to incorporate the four Gospel accounts both as a horizontal and as a vertical composition, and also in its painting still El Greco’s introduce an angel bearing a chalice which is uncommon to other of its contemporaries painting work which makes El Greco’s unique. (Page 237, El Greco’s of Toledo) <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That El Greco’s painting work is still one of the best and successful artist work which a lot of artist had improve upon due to clarity in the images, the illustration of the four Gospel account on a painting, the visual aspect makes it a stand out and most sort of painting, and most important of all is that it is self-explanation such as an “angel holding a golden cup which symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42)”. (Page 237, El Greco’s of Toledo) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That a Painting work done in the early 1590’s still outstanding till today and had no rival, that the pictures, symbols, visual art is something remarkable, introduction of the four Gospel account in a painting both as an horizontal and as an vertical composition, showing Christ kneeling and praying, and showing an angel carrying a golden cup and others. And El Greco’s brought whole new dimensions to Painting work to past and the present.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Works by such painters as Carpaccio, Bassano, Titian and Tintoretto where each compares to each other’s work with El Greco’s painting was on (1) such as the rock behind Christ, (2) the enclosure of the Apostles in a circle.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting in four Gospel Account, the painting in both as an Horizontal and as an Vertical composition, and the angel holding a golden cup which symbolizes the Passion, and refers to an allusion to Christ’s words, Christ kneeling down etc., and importantly the clarity, visual art, symbols, background of the artist and pictures. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span>      </span>All Work Cited From:</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">1. (El Greco’s of Toledo, Page 237).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">2. (El Greco’s, Page 152 of 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">3. </span><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"> </span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','El Greco\'s: Agony in The Garden','','inherit','open','open','','3407-revision-v1','','','2013-10-14 12:31:46','2013-10-14 18:31:46','',3407,'http://jeanatacc.com/2011/?p=3468',0,'revision','',0),(3469,1,'2013-10-14 12:31:50','2013-10-14 18:31:50','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco.jpg\"><img class=\"size-medium wp-image-3449 aligncenter\" alt=\"greco\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco-300x265.jpg\" width=\"300\" height=\"265\" /></a> <!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n<p class=\"MsoHeader\" style=\"text-align: center;\" align=\"center\"><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><strong>Agony in the Garden</strong></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">El Greco’s</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\">The Agony in the Garden was created early 1590’s. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting “Agony in the garden” by El Greco’s is simply a painting that portrays the experiences Christ encounters in trying to negotiate between life and Death in the Garden of Gethsemane seeing the suffering and pains to be subjected to.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The historical context and what distinguishes El Greco’s Painting from other contemporaries, people like Titian and others, was that El Greco’s was able to introduced detains contained in all the four Gospel accounts while his contemporaries’ was just only on a single text of the Gospel account and also the . El Greco’ did his work composition both horizontally and vertically, this work above was specifically horizontal one which gives a vivid illustration of Christ Agony in the Garden of Gethsemane.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting work by El Greco’s were automatically different from others, because what were typical in its era was merely an artistic work that has a single Gospel account and that has a vertical form of composition style which was the dominant artistic work in its era but El Greco’s brought a whole new dimensions and style to painting when he introduces both as a horizontal and as a vertical composition to his work, and also the study of pictures and symbols in “Visual Arts” was prevalent in El Greco’s era too, and when comparing to other people’s work “none of the Gospels, for example, states that the angel bore a chalice i.e. the golden cup held by the angel symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42). Christ, kneeling in prayer in front of a great rock, faces the angel who gives him strength (Luke 22:41, 43). Beneath the angel, seemingly encased in the mist or cloud on which the heavenly messenger kneels, are the sleeping figures of the disciples Peter, James Major, and John (Matt.26:37;Mark 14:33). At the right, in the distance, Judas approaches, leading the guards of the chief priests who will take Christ captive (John 18:3). And the most astonishing risk taking by El Greco’s in his Painting, the most daring is the sense of discontinuous space created by the apparent enclosure of the sleeping disciples within the cloud underneath the angel: the viewer looks through a sort of whirlwind on which the angel is poised and sees Christ’s followers “a stone’s cast” away (Luke 22:41). The swirling oval of mist, which insulates the disciples from the supernatural event that is transpiring, is balanced at the upper right by a fog that is passing over the edge of the rock. The glaring divine light that emanates from above the angel creates unusually brilliant effects on the red robe of Christ; the robe’s sharply faceted planes range in hue from almost white, on his shoulder, to deepest crimson, in the shadows about his left leg” (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span> </span>El Greco’s work Agony in the Garden, was the most successful artistic work in his era with a clear picture, images visible for a self-explanation to the audience and whoever that cares for the work. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The work of El Greco’s stands out from its peers in the sense that (1). The work was done both as a horizontal and as a vertical composition. (2).The painting is probably the prototype, or at any rates the best Autograph version, of the horizontal type. (3). It draws from all four Gospel accounts. (4). That none of the Gospels, work down by the other artist, for example,<span>  </span>states that the angel bore a chalice but El Greco’s painting did that. (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003). </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">El Greco’s work was the best in his era because in its painting pattern he was able to incorporate the four Gospel accounts both as a horizontal and as a vertical composition, and also in its painting still El Greco’s introduce an angel bearing a chalice which is uncommon to other of its contemporaries painting work which makes El Greco’s unique. (Page 237, El Greco’s of Toledo) <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That El Greco’s painting work is still one of the best and successful artist work which a lot of artist had improve upon due to clarity in the images, the illustration of the four Gospel account on a painting, the visual aspect makes it a stand out and most sort of painting, and most important of all is that it is self-explanation such as an “angel holding a golden cup which symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42)”. (Page 237, El Greco’s of Toledo) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">That a Painting work done in the early 1590’s still outstanding till today and had no rival, that the pictures, symbols, visual art is something remarkable, introduction of the four Gospel account in a painting both as an horizontal and as an vertical composition, showing Christ kneeling and praying, and showing an angel carrying a golden cup and others. And El Greco’s brought whole new dimensions to Painting work to past and the present.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Works by such painters as Carpaccio, Bassano, Titian and Tintoretto where each compares to each other’s work with El Greco’s painting was on (1) such as the rock behind Christ, (2) the enclosure of the Apostles in a circle.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The Painting in four Gospel Account, the painting in both as an Horizontal and as an Vertical composition, and the angel holding a golden cup which symbolizes the Passion, and refers to an allusion to Christ’s words, Christ kneeling down etc., and importantly the clarity, visual art, symbols, background of the artist and pictures. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span>      </span>All Work Cited From:</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">1. (El Greco’s of Toledo, Page 237).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">2. (El Greco’s, Page 152 of 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">3. </span><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%;\"> </span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','El Greco\'s: Agony in The Garden','','inherit','open','open','','3407-revision-v1','','','2013-10-14 12:31:50','2013-10-14 18:31:50','',3407,'http://jeanatacc.com/2011/?p=3469',0,'revision','',0),(3471,1,'2013-10-14 12:33:01','2013-10-14 18:33:01','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/alexander-pope-2.jpg\"><img class=\"size-medium wp-image-3411 aligncenter\" alt=\"alexander-pope-2\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/alexander-pope-2-269x300.jpg\" width=\"269\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">http://www.rugusavay.com/wp-content/uploads/2012/11/alexander-pope-2.jpg</p>\r\nJessie German\r\n\r\nTCP #2\r\n\r\nEssay on Man by Alexander Pope\r\n\r\nAlexander Pope’s Essay on Man was written in 1734. It has been considered “to be the masterpiece of his time for it discussed the psychology on humankind in detail.” (Nunez) It was written in couplets of iambic pentameter. It is said to have been a small piece of an even bigger one that Pope never did finish. (www.britannica.com) Pope wrote his essay in four pieces called epistles. The first addressed the connection(s) between humans and the universe. The second approaches humans as individuals. The third takes a look at “the relationship between the individual and society.” The fourth epistle looks at the individual’s potential for achieving happiness and questions this potential. (www.britannica.com) At this time-the Glorious Revolution, the Church of England was even viewed by some as a political institution. Both the Church and Parliament were run largely by the same class of people, the gentry and the aristocracy. (www.historyhome.co.uk) Much of the air created by these groups and their influence on events in this time affected the way in which Pope’s Essay on Man was accepted. Alexander Pope’s Essay on Man was a work of epistolary couplet genius that needs to be preserved in an effort to share with this generation and the next this genius, to encourage them to think of and for themselves, and for them to question the world’s connections just as he did. What is ISN’T always truth.<!--more-->\r\n\r\nPope created quite the controversial work in a time when the church ruled all. Members of the churches hierarchy were angered by Pope’s allegations of mankind’s ability to question the church. (Nunez) Alexander Pope wrote Essay on Man in a time of political and religious turmoil within England and the church. In 1688, Pope was born to two Catholic parents. The country at the time of his birth was one filled with and intense anti-Catholic point of view. It was because of this that the Pope family was forced to move due to a law that forbade Catholics from living anywhere within ten miles of London or Westminster. Catholic schools were even declared illegal. (www.people.umass.edu) This all came after Henry VII split from the Catholic church and began the Anglican Church of England of which he declared himself head.\r\n\r\nDuring the time of the Glorious Revolution of 1688, it was a common belief that everything was directed by some sort of rational order. This included but was not limited to human behavior. Alexander Pope’s works, not just Essay on Man, showed these values like many of his colleagues. It was thought that “order and happiness in human affairs were attainable if excesses were eschewed and rational dictates heeded.” (www.infoplease.com) Pope “typified the spirit of the age of reason; his Essay on Man advanced an optimistic view of human beings as the enlightened inhabitants of an orderly and harmonious universe.” (Fiero) Journalists such as Joseph Addison and novelists such as Daniel Defoe showed the ability of the middle class to rise with their adventure within their works. (www.infoplease.com) The letter became a popular form of literature. Pope was quite accomplished in this. Samuel Richardson wrote novels in a form similar to that of Pope in that it was in epistolary form—sections like those in Essay on Man. The four epistles addressed the relationship between humans and the universe, humans as individuals, the relationship between the individual and society, and the potential of the individual for happiness. (www.britannica.com) One such work was Clarissa written in 1747. Despite being confident in the human ability to achieve greatness and happiness with focus, Pope was very critical of the weaknesses and eccentricities within an individual’s character. (www.infoplease.com) Pope’s use of couplets stood out amongst his peers some of which used prose. (Magill Book Reviews, www.enotes.com) He wrote his piece in “the Horatian sense that would offer a moral critique of human behavior.” (readkaplan.com)\r\n\r\nAt the time of its conception, Alexander Pope’s Essay on Man got mixed reviews from its readers. Colleagues/critiques such as Jean-Jacques Rousseau, Voltaire, and Immanuel Kant gave rave reviews of Pope’s work listing “his marvelous observation and sharp insight about humanity”. (Nunez) Despite the acclaim of his colleagues, Pope received an equal amount of criticism from members of the clergy who seemed to be challenging the central idea of the poem. The central idea of Pope’s work was believed to have a distinct philosophical basis/nature to it. These critical members of the clergy held the view that there was no philosophy behind it but only a poetic nature. Members of the church’s authority also held that he was not a good writer based on the fact that he drove people to question not only the world around them but also the existence of God. (Nunez) At the time of conception, members of the clergy challenged its philosophical value giving it more of a poetic value. Also, various members of the church found fault in Pope’s encouragement for individuals to question not only the world around them but also the very existence of God. While this is a topic for discussion that doesn’t sit at the forefront any longer, it is still the view point of many members of the church. It is also one deemed important enough by scholars that it is continuously mentioned it critical essays regarding Essay on Man.\r\n\r\nMany scholars of today find Pope to be a literary genius. What has been dubbed his heroic use of couplets and his division of the work into epistles created a work of great literary value. It has been said that Pope’s “unity of structure and theme” attributed to the greatness of the work. (Magill Book Review) From a literary point of view, Pope’s Essay on Man has been held in a position of being better than even the finest prose. Some also hold that it is a work of great philosophical value due to Pope’s examination of the human foible and eccentricities.\r\n\r\nWith all honesty, I was quite confused by this work in the beginning and chastised myself for picking it. A big part of this was because of the language as well as the time period. However, upon further research I gained a much better understanding due largely to the fact that I was able to come across critical works and “translations” that-for lack of a better term-put it into laymen’s terms. I was rather taken by Pope’s hierarchy of life, the order of importance in which he placed beings of this world from God all the way down to mere insects. I, personally, have always questioned things. Most specifically the existence of God and the ability for some higher, unseen being to rule all. It has always been a little hard for me to swallow the entire concept of classical religion as it has been forced upon us. I found a decent amount of enjoyment in Pope’s work.\r\n\r\nI was also a little intrigued by his idea that two principles, self-love and reason, more or less rule human nature and are often at odds with each other. (Masterplots) Also interesting to me was that Pope suggested that social and divine love tie all of creation together. I think that maybe what struck me by this was that he encouraged everyone to question and question all. However, he allots the concept of continuity to this tie.\r\n\r\nPublished in 1729, A Modest Proposal by Johnathan Swift was a satirical pamphlet of sorts with a sense of political motivation. Swift had reached his end trying to understand why the Irish people couldn’t seem to come up with a solution for the problems of famine and overpopulation. Clearly his solution to fatten and eat the children was far from being serious. (www.scholarsbank.uoregon.edu) However, he did something Pope was also able to accomplish. He made people think. He went to the drastic end. Pope on the other hand appealed to people’s intellectual and philosophical sides. However, they both addressed the psychology of mankind and human behavior. (Nunez)\r\n\r\nTheir writing styles, while of the same era, were different. Swift wrote Proposal as an appeal, as a pamphlet. It is much like reading a short story. While written in the language of the time with an intellectualism, its humorous and satirical air is hard to ignore. Pope wrote Essay as a long poem divided into four epistles-the equivalent of chapters in a book. It is quite obvious even to someone with little literary knowledge that Swift’s work presents the easier read.\r\n\r\nAlexander Pope was brought up in a Catholic household at a time when it was illegal to be. He was a sickly child. Despite this rough beginning to his life, Alexander Pope was able to create a controversial work of art that managed to change literature for centuries to come. He challenged the church and those who followed its teachings. In a time when the church ruled all, he encouraged the masses to look within themselves and question the world around them. This is one of the biggest reasons I personally feel this writing should be preserved. I have always coveted writing, movies, art, etc that force me to think not only about the work itself but outside-to stretch my critical thinking abilities. This was a work created in a time when individualism wasn’t encouraged. Pope did and became a hero among men.\r\n\r\nAnother very important reason this work should be preserved is because of Pope’s literary genius. He was hailed as the master of the heroic couplet. He wrote Essay on Man in four epistles each of which forced mankind to question themselves, the world around them, and even the existence of God. Colleagues, with good standing and acclaim comparable to that of Pope, raved about his writing citing his observational abilities and insight into humanity.\r\n\r\nPope is hailed as having “typified the spirit of the age of reason; his Essay on Man advanced an optimistic view of human beings as the enlightened inhabitants of an orderly and harmonious universe.” (Fiero) The four epistles of his work encouraged readers to question the connections of humankind, the universe, and society. He wanted the world to enlighten themselves and become the individuals he felt them capable of being. This must be preserved and shared.\r\n\r\nWorks Cited\r\n\r\n“introduction” Literary Criticism (1400-1800) Ed. Thomas J. Schoenberg. Vol 64. Gale\r\n\r\nCengage. 2001. enotes.com 24 Sep, 2013.\r\n\r\nhttp://www.enotes.com/topics/an-essay-man/critical-essays#critical-essays-an-essay-man-alexander-pope-introduction\r\n\r\n***This website produced an analysis and notes on the Essay of Man.\r\n\r\nYadav, Alok. \"Historical Outline of Restoration and 18th Century British Literature.\"\r\n\r\nGeorge Mason University, n.d. Web. 22 Sept. 2013. http://www.mason.gmu.edu/~ayadav/historical%20outline/overview.htm\r\n\r\n***This was a historical website used to establish a historical context for Pope’s work to understand not only Pope’s writing but also the reception of the work.\r\n\r\n“Alexander Pope.” 2013. The Biography Channel website. Sept 23, 2013, 12:09\r\n\r\nhttp://www.biography.com/people/alexander-pope_9444371\r\n\r\n***This website was used to attain biographical information on the author. It is important to understand his background to aid in analysis.\r\n\r\nBloy, Dr. Marjorie. \"The Church of England in the Eighteenth Century.\" A Web of English\r\n\r\nHistory. Ed. Dr. Marjorie Bloy. N.p., n.d. Web. 22 Sept. 2013. http://www.historyhome.co.uk/peel/religion/anglican.htm\r\n\r\n***While a short piece of information, this provided a bit of insight into the Church’s reception of Essay o Man.\r\n\r\nNunez, Diana. \"Critical Reception On Alexander Pope Essay On Man.\" Articlesbase. N.p., 15\r\n\r\nSept. 2010. Web. 23 Sept. 2013. .\r\n\r\n***Ms. Nunez is a senior research writer. Her writing aided in understanding the reception of Pope’s writing from both his colleagues as well as the church and others.\r\n\r\n\"English literature: The Eighteenth Century | Infoplease.com.\"\r\n\r\n© 2000–2013 Pearson Education, publishing as Infoplease.\r\n\r\n29 Sep. 2013 .\r\n\r\n***This was another website that aided in a comparison to other works of the time and to understanding how these works may or may not have affected the reception of Pope’s writing.\r\n\r\n\"A very brief biography off Alexander Pope.\" The Rape of Lock Homepage. University of\r\n\r\nMassachusetts Amherst, n.d. Web. 26 Sept. 2013. http://people.umass.edu/sconstan/popebio.html\r\n\r\n***This website gave biographical information on Pope that was used largely to understand how his Catholic upbringing in a time of turmoil between England and the Church affected his writing.\r\n\r\n“An Essay on Man”. Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia\r\n\r\nBritannica Inc., 2013. Web. 23 Sep. 2013\r\n\r\nhttp://www.britannica.com/EBchecked/topic/192915/An-Essay-on-Man\r\n\r\n***The Britannica online encyclopedia gave a brief explanation of the four epistles and\r\n\r\ntheir purposes. It also mentioned the order of the world according to the essay itself.\r\n\r\nPope, Alexander. \"Essay on Man .\" Pennsylvania State University. Ed. Jim Manis. Pennsylvania\r\n\r\nState University, n.d. Web. 22 Sept. 2013. .\r\n\r\n***This is a complete digital copy of Alexander Pope’s Essay on Man thus allowing constant convenient access to the essay for reading and reference.\r\n\r\nhttp://readkaplan.com/writing-alexander-pope-essay-on-man-analysis\r\n\r\nSparkNotes Editors. “SparkNote on A Modest Proposal.” SparkNotes.com. SparkNotes\r\n\r\nLLC. n.d.. Web. 26 Sept. 2013\r\n\r\n***This website provided an alternate source of information for comparison.\r\n\r\nSwift, Johnathan. \"A Modest Proposal.\" Renascence Editions. University of Oregon, n.d. Web.\r\n\r\n30 Sept. 2013. .\r\n\r\n***This is the second of two sites used to provide information on A Modest Proposal for a comparison.\r\n\r\nPope, Alexander. Masterplots. 4thth ed. N.p.: Salem Press, n.d. N. pag. Literary Reference\r\n\r\nCenter - Austin Community College. Ebscohost. Web. 29 Sept. 2013.\r\n\r\n***This was used as a “translated” version of Essay in that it made it much easier to\r\n\r\ncomprehend as well as provided aid in critical analysis.\r\n\r\nBrackett, Virginia. The Facts on File Companion to British Poetry, 17th and 18th Centuries.\r\n\r\nN.p.: Facts on File, 2008. Bloom\'s Literature - Austin Community College. Bloom\'s Literature. Web. 30 Sept. 2013.\r\n\r\n***This gave information to better understand Pope, his work, and provided a version of the writing that was easier to comprehend.','Essay on Man by Alexander Pope','','inherit','open','open','','3246-revision-v1','','','2013-10-14 12:33:01','2013-10-14 18:33:01','',3246,'http://jeanatacc.com/2011/?p=3471',0,'revision','',0),(866,25,'2011-04-06 16:41:22','2011-04-06 22:41:22','Captivating the audience, Shakespeare\'s play <em>Hamlet </em>expresses romance, tragedy, and revenge. The true meaning behind the plot of <em>Hamlet</em> has been a question concerning the world for centuries and continues to perplex the modern reader today. Shakespeare was brilliant when creating the plot of the play and developing the main character, Hamlet, allowing him to have moral integrity and thoughtfulness while avenging a great wrong.  <em>Hamlet</em> should be persevered in order to come to a final conclusion of the message Shakespeare gave to literature many years ago.\r\n\r\n<!--more-->\r\n\r\nOne of Shakespeare\'s most famous plays he ever wrote was <em>Hamlet, Prince of Denmark</em>, written around the time of 1600. The play reflects romance, tragedy, and revenge. Most of Shakespeare’s playwrights that  incorporate romance “Have much in common with the late medieval and early Tudor prose romances” (Lamb and Wayne. 91). With romance comes tragedy in nearly all of Shakespeare’s plays. Side by side though, romance and tragedy portray two different aspects of life, “In their treatment of the familial relationships and social order” (Lamb and Wayne. 92). Tragedies show, “The dissolution of the family and destruction of the social order…” (Lamb and Wayne. 92) while prose romance shows, “A positive treatment of women, and they work towards the reconstitution of a dispersed family and restoration of a shattered royal household”   (Lamb and Wayne. 92). These are two key factors in which <em>Hamlet</em> beholds.\r\n\r\nThe play <em>Hamlet</em> is supposedly a reflection of many works from profound writers. <em>Ur-Hamlet</em> is the source most credited for the direct historical background of Shakespeare’s Hamlet. Similar sources related to the inspiration of <em>Hamlet </em>include <em>The Spanish Tragedy </em>by Thomas Kyd and Saxo Grammaticus’s <em>Historia Danica </em>(“Hamlet: Intro”). Another major influence of <em>Hamlet</em> belongs to the Roman playwright Seneca (Cummings). Seneca’s work reflected on, “The certainty of death, the fickleness of fate, the instability of power and happiness, the virtue of stoic moderation, and the obscurity and the like” (Turey). Just like in<em> Hamlet</em>, Seneca based his plays around a central character that is indulged by evil and unspeakable criminality.  Seneca also frequently implied a ghost like figure into his plays as seen in Shakespeare’s play when the ghost of Hamlet’s father comes back to spike revenge in Hamlet (Turey).\r\n\r\n<em> Hamlet</em> has seen to cause the most trouble is deciphering the message within the storyline. To readers, the main character of the play seems both weak and strong.  Some argue that his depression kept him from acting on the revenge needed to avenge his father\'s death, while others argue that his depression allowed him to logically find a way to avenge the death. With the exception of certain biblical text, <em>Hamlet</em> is by far, “The most problematic text in all of literature” (Johnston). There is great debate on how we are to understand Shakespeare\'s tragedy but the one thing we can be sure of is, Hamlet\'s plot for revenge (Johnston).\r\n\r\n<em>Hamlet</em> is a revenge play in which the plot consist of the main character seeking revenge and acting on his own without any outside help but it is not typical like other revenge plays. While writing <em>Hamlet</em>, “Shakespeare’s focus on this conflict was a revolutionary departure from contemporary revenge tragedies…” (\"Hamlet: Intro\"). Shakespeare appears to have twisted the revenge theme and allowed the main character, Hamlet, to struggle with morality. Throughout the story Hamlet seeks revenge on the man who killed his father, married his mother, and took the crown of Denmark, and eventually succeeds, but the question frequently asked is why Hamlet waited so long to do so? Was he planning a way for revenge to come justly or was he emotionally weak? By Act I of the play Hamlet is fully aware of his father\'s killer. He certainly vows for the revenge to take place but Hamlet does not follow up on his actions until weeks, or even months had passed since the death of his father (Johnston). Though many historians speculate that Hamlet was a coward, the question as to why he waited has yet to be answered. Shakespeare could have purposefully left us to ponder this.\r\n\r\nIt is also interesting that Shakespeare willingly wrote about revenge in <em>Hamlet</em>. During Shakespeare\'s time of the Elizabethan era, Christian ethics considered revenge as wrong doing. A saint of the church, “Would forgive and bring about reconciliation” (Friedlander) rather than punish another. The people of this time wanted justice, but no one was allowed to take the law in their own hands.  The church provided forgiveness and justice was served through the legal system.   The Elizabethan’s could not give out revenge in their own lives, but they loved to watch revenge and live through it vicariously through plays.\r\n\r\nThough Hamlet is looked upon as a killer who tries to fight off the temptations of love and hatred, he is also portrayed as a mirror image of society and the role that humans play or want to play. <em>Hamlet</em> is one of literature\'s first real views of human nature (Friedlander). The play shows an ordinary person being thrown back and forth between what is morally right and wrong whether it was his own suicide, murder, or vengeance.  Unlike contemporary media, “Hamlet leaves us with the message that life is indeed worth living, even by imperfect people in an imperfect world” (Friedlander). During the play, Hamlet struggles with depression and suicide but after the burial of his love, Ophelia, he decides that intentional death without ever living may be worse than living. The reader also sees Hamlet struggle when he tries to murder his father\'s killer the first time.  He walks in on Claudius praying and struggling with the immoral choices that he made with murder and adultery.  Because of this, Hamlet has sympathy for him and doesn’t kill him then but murders Polonius rashly.  By the end of the play, the reader has a newfound love for Hamlet because he morally finds a way to get revenge on his father\'s killer and punish himself for a thoughtless murder that he had committed.  He lets the reader into his mind and shows that he is both genuine and sincere. We can all relate to Hamlet and admire his resistance to the corruptions of evil that surround him (Friedlander).\r\n\r\nShakespeare also expresses a negative view towards women in <em>Hamlet</em>. This is odd due to the fact that most of Shakespeare\'s plays involve women with a sense of power who have major influence over men. In <em>Hamlet,</em> his mother, Gertrude, and his love, Ophelia, are both, “Weaklings who are dominated by men” (Cummings). Gertrude gives into Claudius to adultery and murder, and Ophelia will not stand up to her father and chooses suicide to solve her problems. Both of these women made poor choices and suffered from them. During the Renaissance, Shakespeare\'s audience would have greatly appreciated the play because men at that time thought little of women and treated them as objects of possession.  Also Hamlet\'s allusive sexual desire towards Ophelia was highly acceptable (Henderson). Men during this time feared women and their loyalty to them and <em>Hamlet</em> reflected that fear. It was said to be that, “…the greatest threat to the male patriarchal ego then, and the most disrupter of the social order, was cuckoldry, or unfaithfulness by the female” (Henderson). The male was to have full dominance and <em>Hamlet</em> implied what society had told it to do.\r\n\r\nAs Shakespeare used the work of others to construct <em>Hamlet</em>, an author used <em>Hamlet </em>to construct <em>Euordanus, Prince of Denmark</em>. Key elements of the play point out the similarities between it and <em>Hamlet</em> which supports the close relationship between the two. <em>Eurodanus</em> and <em>Hamlet</em> were published around the same time, which shows, “How genres overlapped in the Renaissance and how tragedy is linked with other popular literary forms of the period” (Lamb and Wayne. 92-93). <em>Eurodanus</em> and <em>Hamlet</em> share intertexts, which means carrying one meaning of a text to another text. <em>Hamlet</em> through time seems to be printed before <em>Eruodanus </em>meaning that <em>Eruodanus</em> used <em>Hamlet </em>as an intertext rather than vice versa. A main intertext that the two plays share is a, “Common interest in the earlier Anglo-Danish relationship…,” “Both <em>Eurodanus</em> and <em>Hamlet</em> turn different aspects of England’s historical link with Denmark into subjects of fiction and drama, respectfully” (Lamb and Wayne. 93).\r\n\r\nDuring the Elizabethan era, <em>Hamlet, Prince of Demark</em> was a play by Shakespeare conducted for pure entertainment. It is now seen to be after many years a never-ending jigsaw puzzle. Shakespeare may have intended <em>Hamlet</em> to be an ever-lasting mystery, but in reality, different versions were likely printed and combined together accidentally causing confusion future society.\r\n\r\n<em>Hamlet</em> is a particular valuable piece of work because it stimulates pressure on society to reach a final interpretation on whether Hamlet, the main character, is emotionally weak or moral, and it is the first time that a character is shown to struggle with inner and outer conflict. With all of the different aspects and elements used within the play, readers of <em>Hamlet</em> have yet to come to an agreement of the meaning behind it the character struggle and plot. Shakespeare’s departure from what was the status quo with plot will continue to inspire writers to take risks not seen before.  Future generations should preserve Shakespeare’s incredible tragedy in order to learn further about his brilliant writing ability and seek a final closure of the true meaning behind <em>Hamlet.</em>\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\r\n&nbsp;\r\n\r\nCummings, Michael J. \"Hamlet, Prince of Denmark.\" <em>Free Study Guides for Shakespeare   and Other Authors</em>. 2003. Web. 27 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nFriedlander, ED. \"Enjoying \"Hamlet\" by William Shakespeare.\" <em>The Pathology Guy</em>. Friedlander ER (1999), 25 Dec. 2003. Web. 02 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Hamlet: Introduction.\" <span style=\"text-decoration: underline\">Shakespeare for Students</span>. Ed. Marie Rose Napierkowski. Vol. 1. Detroit: Gale, 1998. <span style=\"text-decoration: underline\">eNotes.com</span>. January 2006. 2 April 2011<strong> </strong>\r\n\r\n&nbsp;\r\n\r\nHenderson, Steve. \"Hamlet and a Feminist Argument.\" <em>Books &amp; Literature Classics</em>. Web. 27 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nJohnston, Ian. \"Introductory Lecture on Shakespeare’s Hamlet.\" <em>Studies in Shakespeare</em>. 27 Feb. 2001. Web. 28 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\nLamb, Mary E., and Valerie Wayne. <em>Staging Early Modern Romance: Prose Fiction, Dramatic Romance, and Shakespeare</em>. N.p.: Routledge, 2008. 76-93. Web. 22 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\nTurey, Wayne S. \"Lucius Annaeus Seneca.\" <em>Wayne S. Turney, Home Page</em>. Web. 27 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','William Shakespeare\'s Tragedy \"Hamlet\"','','publish','open','open','','william-shakespeares-tragedy-hamlet','','','2011-04-06 16:41:22','2011-04-06 22:41:22','',0,'http://jeanatacc.com/2011/?p=866',0,'post','',7),(824,19,'2011-03-28 12:56:08','2011-03-28 18:56:08','','TCP2_report[1]','','inherit','open','open','','tcp2_report1-2','','','2011-03-28 12:56:08','2011-03-28 18:56:08','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/TCP2_report11.docx',0,'attachment','application/msword',0),(826,19,'2011-03-28 12:56:36','2011-03-28 18:56:36','','TCP2_report[1]','','inherit','open','open','','tcp2_report1-3','','','2011-03-28 12:56:36','2011-03-28 18:56:36','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/TCP2_report12.docx',0,'attachment','application/msword',0),(827,19,'2011-03-28 12:57:07','2011-03-28 18:57:07','','TCP2_report[1]','','inherit','open','open','','tcp2_report1-4','','','2011-03-28 12:57:07','2011-03-28 18:57:07','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/TCP2_report13.docx',0,'attachment','application/msword',0),(829,12,'2011-03-28 13:03:29','2011-03-28 19:03:29','<img class=\"aligncenter\" src=\"http://www.danteinferno.info/gates-of-hell.jpg\" alt=\"&quot;ABANDON ALL HOPE, YOU WHO ENTER HERE&quot;\" width=\"368\" height=\"600\" />\n<p style=\"text-align: center\">\"ABANDON ALL HOPE, YOU WHO ENTER HERE\"<!--more--></p>\nThe Divine Comedy by Dante Alighieri is titled as one of the greatest poems written in Medieval Europe. Originally written in Italian, it has quickly become the favorite among average readers, literary experts, and schools. In this epic, Dante records his view of the medieval Christian beliefs, being the first to truly portray sin and punishment by taking you through Hell, Purgatory, and Heaven.  I personally believe that this work is not only fascinating but educational, and should be preserved for future generations to learn from.\n\nDante Alighieri was an Italian poet born in Florence, 1265. When he turned 20 in 1285 he married a woman named Gemma di Manetto Donati with whom he had four children; Jacopo, Pietro, Giovanni and Antonia. Even though he was madly in love with a girl named Beatrice Portinari, it was custom of his time to be ‘promised’ to another at an early age, regardless of love, to secure family truces and relationships (Dante Alighieri - Biography and Works).\n\nDeeply involved in politics, Dante had been in the midst of a medieval rivalry between Germany and Italy. The two parties involved in this civil war were the Guelphs and the Ghibellines. Guelphs—the side Dante was on, were represented by democratic middle and merchant classes. They desired a constitutional government and looked to the Pope for help against the Ghibellines. On the other side, the Ghibellines were aristocratic, disdainful of the church, and supported the emperor. Their leader, Ezzelino da Romano, was a tyrant and was as depicted so in Dante’s Inferno.\n\nUnfortunately, the Guelphs encountered a family feud.  Two branches of the Cancellieri family quarreled over a family murder which resulted in the splitting of the party. There was now the Blacks (Neri family) and Whites (Bianchi family) (Guelphs and Ghibellines). Dante had fallen into the White party and fought alongside them in the battle of Campaldino in 1289. In 1302, When the Black Guelphs ascended to power, Dante and the entirety of the Whites were exiled; condemned to death by burning should they ever be caught again in Florence (Liukkonen, Petri).\n\nWhen Beatrice died in June 1290 at the age of 24, Dante wrote his first published writing, La Vita Nuova, to express his love for her.  But it was during his exile that his body of work flourished. During this time he wrote Il Convivo (1307 unfinished), De Vulgari Eloquentia (1304-07), De Monarchia (1313), Ecolgues (1319-20), and Quaestio De Situ Aque Et Terre (1320). However, none of these works are as recognized as La commedia (1308-1321), or as we know it, The Divine Comedy. The three books that make up this bestseller are called The Inferno, Purgatorio, and Paradiso. They are written in groups of 3 lines called tercets and are arranged into 100 cantos in 3 parts; 34 for the Inferno, and 33 each for Purgatorio and Paradiso. The number 3 in Dante\'s time was significant because it was considered holy since the Father, Son, and Holy Ghost comprises the Trinity (Liukkonen, Petri).\n\nTaking place on Black Friday in 1300, the story begins with Dante lost in the woods. He comes upon a hill that is blocked by 3 beasts and he is unable to pass. Virgil suddenly appears and tells him that Beatrice is in Heaven and has asked Virgil to save Dante from his sinful ways. Virgil then takes him through the beasts and into the depths of hell.\n\nThere he descends through 9 circles of individual sins, each with their own punishments. In order, the circles are as follows: Limbo, Lustful, Gluttonous, Misers and Spendthrifts, Wrathful and Sullen, Heretics, Violent, Fraudulent, and finally Traitors. The farther down you go, the more severe the sin; Satan resides at the bottom with the traitors. Some of the circles have sub-circles that break down the sin into more specifics, one being the violent—it is broken down into violence against self (suicides), violence against God (blasphemers), and violence against others (murderers). Each sub-circle has its individual punishment.\n\nAfter witnessing the horrors that sin brings, they exit Hell and move into Purgatory. There are seven terraces that they must pass through, each one representing one of the seven deadly sins: Pride, Envy, Gluttony, Lust, Anger, Sloth, and Greed. In Inferno sins are punished, but in Purgatory they are purged. What looks like punishment is actually a lesson so that the soul can be cleansed in preparation for their ascension to Heaven. Victims of pride walk with a permanent hunch so they are bellow everyone else. The gluttonous are starved, and the wrathful are blinded with smoke.\n\nFinally, Dante is ready to move to Heaven where Virgil hands him off to his love Beatrice. Just like in the Inferno and Purgatory, Heaven has levels referred to as spheres. The higher the sphere, the farther from earth it is. The first nine are within our physical realm while the tenth sphere is outside space and time, and is the true paradise. The spheres are grouped as followed: The Inconstant, Ambitious, Lovers, The Wise, Warriors of Faith, Just Rulers, The Contemplatives, The Faithful, and the Angels. God resides in the tenth sphere called The Empyrean. The book ends when Dante reaches the tenth sphere and becomes one with God.\n\nDante’s poem surpasses epics such as Iliad, Odyssey, and Beowulf which all focused on make-believe individuals that are borrowed from legends and myths.  On the other hand, The Divine Comedy gets its story from Dante’s own imagination, and includes actual people from everywhere, and presents life as a spiritual journey in which one must overcome sin to achieve the ultimate goal of eternal bliss with God (Divine Comedy Study). It is even said by the Catholic Encyclopedia that the comedy represents “the beginning of the Renaissance; it gives a complete picture of Catholicism in the thirteenth century in Italy.”\n\nAfter The Divine Comedy was released, it was quickly sought after by everyone; although, the printing press had not been invented yet, and each copy had to be hand written. Having a means to print today, countless poets have attempted to translate the Italian writing, however, it is considered unfortunate if you are unable to read the original Italian text and thus savor Dante\'s masterpiece in its original language. In February 2010, EA Games got on board with the inferno fame and released a Dante’s Inferno video game for Xbox and PS3—selling $225,000 in sales during its first month (chacha).\n\nDante Alighieri died one year after finishing the Divine Comedy in September 1321. In his wake the world of literature exploded. Never before has the world seen the likes of The Divine Comedy. Its message is the warning that actions in this life bring inevitable consequences in the next (Fiero, Gloria K), it is my belief that such lessons should never be forgotten, and The Divine Comedy needs to be preserved for own spiritual future.\n\n&nbsp;\n\n<span style=\"text-decoration: underline\">CITATION</span>\n<ul>\n	<li>\"Dante Alighieri - Biography and Works. Search Texts, Read Online. Discuss.\" <em>The Literature Network: Online Classic Literature, Poems, and Quotes. Essays &amp; Summaries</em>. Jalic Inc. Web. 14 Mar. 2011. &lt;http://www.online-literature.com/dante/&gt;.</li>\n	<li>\"Divine Comedy Study Guide.\" <em>Free Study Guides for Shakespeare and Other Authors</em>. Web. 19 Mar. 2011. &lt;http://www.cummingsstudyguides.net/Guides2/DivineCom.html#Plot&gt;.</li>\n	<li>Fiero, Gloria K. \"The Christian Way of Life and Death.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B2.104+. Print.</li>\n</ul>\n&nbsp;\n<ul>\n	<li>Gardner, Edmund. \"Dante Alighieri.\" The Catholic Encyclopedia. Vol. 4. New York: RobertAppleton Company, 1908. 15 Mar. 2011 &lt;http://www.newadvent.org/cathen/04628a.htm&gt;.</li>\n	<li>\"Guelphs and Ghibellines.\" <em>Rete Dante Alighieri - Spazio Web Gratis ---- Dante Alighieri Network -- Free Web Space</em>. Cambridge. Web. 14 Mar. 2011. &lt;http://www.dantealighieri.net/cambridge/guelphs.html&gt;.</li>\n	<li>Liukkonen, Petri. \"Dante.\" <em>Www.kirjasto.sci.fi</em>. 2008. Web. 14 Mar. 2011. &lt;http://kirjasto.sci.fi/dante.htm&gt;.</li>\n</ul>\n﻿Image provided by Dantesinferno.info- http://www.danteinferno.info/gates-of-hell.jpg','The Divine Comedy','','inherit','open','open','','727-autosave','','','2011-03-28 13:03:29','2011-03-28 19:03:29','',727,'http://jeanatacc.com/2011/?p=829',0,'revision','',0),(836,19,'2011-03-28 13:24:13','2011-03-28 19:24:13','<p style=\"text-align: center;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">The Church of St. Marie Madeleine, Vezeley, was constructed between 1104 and 1132 in Vezelay, France, and is one of the most impressive architectural achievements to come out of the Romanesque period. It is believed a monk named Baudillon once obtained some relics or bones from Mary Magdalene, which he then brought to the monastery. “In addition to being “the female apostle”, the saint was believed to specifically have the power to free captives and numerous prisoners who had been set free after suitable prayers brought their chains to Vezelay as a votive offering (Adrian Fletcher).” The church would become an important assembly point for pilgrims traveling through this area of France and would also be the location where the second crusade began (Humanistic Tradition, B2. 121).<!--more--></p>\r\n<p style=\"text-align: left;\">The Church of St. Marie Madeleine was very typical of the Romanesque style of architecture at the time. Using a wide variety of stone-vaulting techniques, the Romanesque design used transverse arches over the nave of the church which was well known for this type of architecture. Also synonymous with Romanesque style was the floor plan of the church which followed the Latin cross design of early Christian and Carolingian churches (Humanistic Tradition, B2. 119).</p>\r\n<p style=\"text-align: left;\">This church as well as other Romanesque churches can be considered innovative for their time because of the Norman masonry. The Norman stone-masons technical superiority is evident in many Romanesque churches at the time and allowed medieval architects to build on a grander scale. (Humanistic Tradition, B2. 119).</p>\r\nThe church was received well in its time for its great architecture and convenient location for traveling pilgrims. “The new church was dedicated on 21 April 1104, whereupon the citizenry revolted and killed the abbot for the high taxes they had been forced to pay for the church. By the 1120s they were rebuilding the nave, which had burned down (roasting 1,200 people), but still the pilgrims and ex-prisoners flocked in,” (Adrian Fletcher).\r\nThe reception of the Church from its time of construction to present day has obviously been one of sanctuary. It was always a place of refuge for travelers of any type traveling through the vast hills of France. The work has sheltered and provided aid to many people for many years. Therefore the preservation of the church is a must.\r\n\r\nPersonally my reaction to the work can only be made by photos which are astonishing. Seeing the amazing architecture of this church would be much better in person obviously but stands out the photos is definitely the archways. The large amount of weight held under the archways is quite impressive. Also on another note, the fact that it was a very important place of assembly, refuge and peace it is very apparent how important this work was at the time, and is now.\r\n\r\nThis work can be compared with many Romanesque churches of it time, specifically at the abbey of Jumieges. What is very apparent in this style of architecture is very tall twin towers, the Latin cross floor design and highly vaulted ceilings. These two churches also comprise of the large archways through the middle of the church as well. “Romanesque architects employed round arches and a uniform system of stone vaults in the upper zones of the nave and side aisles,” (Humanistic Tradition, B2. 119).\r\nI believe what is most important for future generations is the innovation of masonry evident in the architecture of the Church of St. Marie Madeleine, Vezelay. Specifically Norman masonry, made this church as well as other Romanesque cathedrals quite an architectural sight to behold. What is also important for future generations to remember is the history of the church. It was built for a reason other than just worship. Monks, pilgrims, ex-prisoners and others were always welcome to take refuge there, as this almost became the sole purpose of this church. For many reasons other than the simple beauty of the work, the Church of St. Marie Madeleine must be preserved for future generations to see and admire.\r\n\r\nWorks Cited\r\nFiero, K Gloria. The Humanist Tradition, The Sixth Edition. Mcgraw-Hill, 2001.\r\nFletcher, Adrian. “The Abbey Church of Vezelay.” www.paradoxplace.com. Fletcher, Adrian.\r\n19, March 2001.\r\nPhotos, 1,2,3,4 and 5:\r\nAllison Stones','DyerGary-TCP2','','publish','open','open','','dyergary-tcp2-3','','','2011-03-28 23:00:00','2011-03-29 05:00:00','',0,'http://jeanatacc.com/2011/?p=836',0,'post','',8),(837,19,'2011-03-28 13:23:06','2011-03-28 19:23:06','','getimage-idx','','inherit','open','open','','getimage-idx','','','2011-03-28 13:23:06','2011-03-28 19:23:06','',836,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/getimage-idx.jpg',0,'attachment','image/jpeg',0),(838,19,'2011-03-28 13:21:15','2011-03-28 19:21:15','Gary Dyer\nHUMA1301\nProfessor Jean Lauer\nMarch 19, 2011\n<p style=\"text-align: center\"> </p>\n<p style=\"text-align: center\">The Church of St. Marie Madeleine, Vezelay\nThe Church of St. Marie Madeleine, Vezeley, was constructed between 1104 and 1132 in Vezelay, France, and is one of the most impressive architectural achievements to come out of the Romanesque period. It is believed a monk named Baudillon once obtained some relics or bones from Mary Magdalene, which he then brought to the monastery. “In addition to being “the female apostle”, the saint was believed to specifically have the power to free captives and numerous prisoners who had been set free after suitable prayers brought their chains to Vezelay as a votive offering (Adrian Fletcher).” The church would become an important assembly point for pilgrims traveling through this area of France and would also be the location where the second crusade began (Humanistic Tradition, B2. 121).\nThe Church of St. Marie Madeleine was very typical of the Romanesque style of architecture at the time. Using a wide variety of stone-vaulting techniques, the Romanesque design used transverse arches over the nave of the church which was well known for this type of architecture. Also synonymous with Romanesque style was the floor plan of the church which followed the Latin cross design of early Christian and Carolingian churches (Humanistic Tradition, B2. 119).\nThis church as well as other Romanesque churches can be considered innovative for their time because of the Norman masonry. The Norman stone-masons technical superiority is evident in many Romanesque churches at the time and allowed medieval architects to build on a grander scale. (Humanistic Tradition, B2. 119).</p>\nThe church was received well in its time for its great architecture and convenient location for traveling pilgrims. “The new church was dedicated on 21 April 1104, whereupon the citizenry revolted and killed the abbot for the high taxes they had been forced to pay for the church. By the 1120s they were rebuilding the nave, which had burned down (roasting 1,200 people), but still the pilgrims and ex-prisoners flocked in,” (Adrian Fletcher).\nThe reception of the Church from its time of construction to present day has obviously been one of sanctuary. It was always a place of refuge for travelers of any type traveling through the vast hills of France. The work has sheltered and provided aid to many people for many years. Therefore the preservation of the church is a must.\n\nPersonally my reaction to the work can only be made by photos which are astonishing. Seeing the amazing architecture of this church would be much better in person obviously but stands out the photos is definitely the archways. The large amount of weight held under the archways is quite impressive. Also on another note, the fact that it was a very important place of assembly, refuge and peace it is very apparent how important this work was at the time, and is now.\n\nThis work can be compared with many Romanesque churches of it time, specifically at the abbey of Jumieges. What is very apparent in this style of architecture is very tall twin towers, the Latin cross floor design and highly vaulted ceilings. These two churches also comprise of the large archways through the middle of the church as well. “Romanesque architects employed round arches and a uniform system of stone vaults in the upper zones of the nave and side aisles,” (Humanistic Tradition, B2. 119).\nI believe what is most important for future generations is the innovation of masonry evident in the architecture of the Church of St. Marie Madeleine, Vezelay. Specifically Norman masonry, made this church as well as other Romanesque cathedrals quite an architectural sight to behold. What is also important for future generations to remember is the history of the church. It was built for a reason other than just worship. Monks, pilgrims, ex-prisoners and others were always welcome to take refuge there, as this almost became the sole purpose of this church. For many reasons other than the simple beauty of the work, the Church of St. Marie Madeleine must be preserved for future generations to see and admire.\n\nWorks Cited\nFiero, K Gloria. The Humanist Tradition, The Sixth Edition. Mcgraw-Hill, 2001.\nFletcher, Adrian. “The Abbey Church of Vezelay.” www.paradoxplace.com. Fletcher, Adrian.\n19, March 2001.\nPhotos, 1,2,3,4 and 5:\nAllison Stones','DyerGary-TCP2','','inherit','open','open','','836-revision','','','2011-03-28 13:21:15','2011-03-28 19:21:15','',836,'http://jeanatacc.com/2011/?p=838',0,'revision','',0),(841,1,'2011-03-28 13:24:13','2011-03-28 19:24:13','Gary Dyer\r\nHUMA1301\r\nProfessor Jean Lauer\r\nMarch 19, 2011\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\">The Church of St. Marie Madeleine, Vezelay\r\nThe Church of St. Marie Madeleine, Vezeley, was constructed between 1104 and 1132 in Vezelay, France, and is one of the most impressive architectural achievements to come out of the Romanesque period. It is believed a monk named Baudillon once obtained some relics or bones from Mary Magdalene, which he then brought to the monastery. “In addition to being “the female apostle”, the saint was believed to specifically have the power to free captives and numerous prisoners who had been set free after suitable prayers brought their chains to Vezelay as a votive offering (Adrian Fletcher).” The church would become an important assembly point for pilgrims traveling through this area of France and would also be the location where the second crusade began (Humanistic Tradition, B2. 121).\r\nThe Church of St. Marie Madeleine was very typical of the Romanesque style of architecture at the time. Using a wide variety of stone-vaulting techniques, the Romanesque design used transverse arches over the nave of the church which was well known for this type of architecture. Also synonymous with Romanesque style was the floor plan of the church which followed the Latin cross design of early Christian and Carolingian churches (Humanistic Tradition, B2. 119).\r\nThis church as well as other Romanesque churches can be considered innovative for their time because of the Norman masonry. The Norman stone-masons technical superiority is evident in many Romanesque churches at the time and allowed medieval architects to build on a grander scale. (Humanistic Tradition, B2. 119).</p>\r\nThe church was received well in its time for its great architecture and convenient location for traveling pilgrims. “The new church was dedicated on 21 April 1104, whereupon the citizenry revolted and killed the abbot for the high taxes they had been forced to pay for the church. By the 1120s they were rebuilding the nave, which had burned down (roasting 1,200 people), but still the pilgrims and ex-prisoners flocked in,” (Adrian Fletcher).\r\nThe reception of the Church from its time of construction to present day has obviously been one of sanctuary. It was always a place of refuge for travelers of any type traveling through the vast hills of France. The work has sheltered and provided aid to many people for many years. Therefore the preservation of the church is a must.\r\n\r\nPersonally my reaction to the work can only be made by photos which are astonishing. Seeing the amazing architecture of this church would be much better in person obviously but stands out the photos is definitely the archways. The large amount of weight held under the archways is quite impressive. Also on another note, the fact that it was a very important place of assembly, refuge and peace it is very apparent how important this work was at the time, and is now.\r\n\r\nThis work can be compared with many Romanesque churches of it time, specifically at the abbey of Jumieges. What is very apparent in this style of architecture is very tall twin towers, the Latin cross floor design and highly vaulted ceilings. These two churches also comprise of the large archways through the middle of the church as well. “Romanesque architects employed round arches and a uniform system of stone vaults in the upper zones of the nave and side aisles,” (Humanistic Tradition, B2. 119).\r\nI believe what is most important for future generations is the innovation of masonry evident in the architecture of the Church of St. Marie Madeleine, Vezelay. Specifically Norman masonry, made this church as well as other Romanesque cathedrals quite an architectural sight to behold. What is also important for future generations to remember is the history of the church. It was built for a reason other than just worship. Monks, pilgrims, ex-prisoners and others were always welcome to take refuge there, as this almost became the sole purpose of this church. For many reasons other than the simple beauty of the work, the Church of St. Marie Madeleine must be preserved for future generations to see and admire.\r\n\r\nWorks Cited\r\nFiero, K Gloria. The Humanist Tradition, The Sixth Edition. Mcgraw-Hill, 2001.\r\nFletcher, Adrian. “The Abbey Church of Vezelay.” www.paradoxplace.com. Fletcher, Adrian.\r\n19, March 2001.\r\nPhotos, 1,2,3,4 and 5:\r\nAllison Stones','DyerGary-TCP2','','inherit','open','open','','836-revision-2','','','2011-03-28 13:24:13','2011-03-28 19:24:13','',836,'http://jeanatacc.com/2011/?p=841',0,'revision','',0),(842,22,'2011-03-26 17:17:50','2011-03-26 23:17:50','<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-7','','','2011-03-26 17:17:50','2011-03-26 23:17:50','',790,'http://jeanatacc.com/2011/?p=842',0,'revision','',0),(844,22,'2011-03-30 18:35:07','2011-03-31 00:35:07','<a href=\"http://jeanatacc.com/2011/?attachment_id=792\" rel=\"attachment wp-att-792\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica\" width=\"220\" height=\"298\" class=\"alignleft size-full wp-image-792\" /></a><p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-9','','','2011-03-30 18:35:07','2011-03-31 00:35:07','',790,'http://jeanatacc.com/2011/?p=844',0,'revision','',0),(845,22,'2011-03-30 18:35:07','2011-03-31 00:35:07','<a href=\"http://jeanatacc.com/2011/?attachment_id=792\" rel=\"attachment wp-att-792\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica\" width=\"220\" height=\"298\" class=\"alignleft size-full wp-image-792\" /></a><p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-10','','','2011-03-30 18:35:07','2011-03-31 00:35:07','',790,'http://jeanatacc.com/2011/?p=845',0,'revision','',0),(892,7,'2011-04-10 16:27:36','2011-04-10 22:27:36','<p style=\"text-align: center;\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n<div class=\"mceTemp mceIEcenter\"><dl> <dt><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt> <dd>Library of Congress North Reading Room mural<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: normal;\"><span style=\"font-size: 8.0pt;\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt; color: windowtext;\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt;\"> </span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a></dt> <dd>Woodcut from William Caxton\'s second edition of the Canterbury Tales printed in 1483  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: normal;\"><a href=\"http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"><span style=\"font-size: 8.0pt;\">http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png</span></a><span style=\"font-size: 8.0pt;\"> </span></p>\r\n\r\n</dd> </dl></div>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt; line-height: 200%;\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt> <dd>Portrait of Chaucer <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><span><a href=\"http://www.qwiki.com/q/#%21/English_literature\"><span style=\"font-size: 10.0pt; line-height: 115%;\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9.0pt; line-height: 115%;\">terature</span></a></span></dd> </dl></div>\r\n<span style=\"font-size: 12.0pt; line-height: 200%;\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt; line-height: 200%;\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12.0pt; line-height: 200%;\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span>Equitan</span></em><span>, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><em><span style=\"font-size: 12.0pt; line-height: 200%;\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt; line-height: 200%;\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt; line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt; line-height: 200%;\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt; line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt> <dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: normal;\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8.0pt;\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8.0pt;\"> </span></p>\r\n\r\n</dd> </dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt; line-height: 200%;\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt; line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt> <dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><span><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12.0pt; line-height: 115%; color: windowtext;\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a></span> </dd> </dl></div>\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt; line-height: 200%;\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt; line-height: 200%;\"><span style=\"font-size: 12pt; line-height: 200%;\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt; line-height: 200%;\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt; line-height: 200%;\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt; line-height: 200%;\">protagonists</span><span style=\"font-size: 12pt; line-height: 200%;\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt; line-height: 200%;\">Fiero</span><span style=\"font-size: 12pt; line-height: 200%;\">). </span><span style=\"font-size: 12pt; line-height: 200%;\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt; line-height: 200%;\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt; line-height: 200%;\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(</span></span><span>Gāius</span><span style=\"font-size: 12.0pt; line-height: 200%;\"><span class=\"huge\"> </span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in; text-align: center;\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in; text-align: center;\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in; text-align: center;\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></dt> <dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: normal;\"><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt; color: windowtext;\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt;\"> </span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in; line-height: normal;\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext;\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in; line-height: normal;\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext; text-decoration: none;\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in;\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext;\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in;\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in;\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext;\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in; line-height: normal;\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in; line-height: normal;\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in; line-height: normal;\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in;\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext;\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px; height: 1px; overflow: hidden;\">\r\n\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%;\"> </span></p>\r\n\r\n</div>\r\n<div class=\"mcePaste\" style=\"width: 1px; height: 1px; overflow: hidden;\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: normal;\"><span style=\"font-size: 8.0pt;\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt; color: windowtext;\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt;\"> </span></p>\r\n\r\n</div>','The Canterbury Tales','','publish','open','open','','the-canterbury-tales','','','2011-05-08 20:50:54','2011-05-09 02:50:54','',0,'http://jeanatacc.com/2011/?p=892',0,'post','',5),(852,5,'2011-04-03 16:21:23','2011-04-03 22:21:23','','School of Athens','','inherit','open','open','','school-of-athens-2','','','2011-04-03 16:21:23','2011-04-03 22:21:23','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens1.png',0,'attachment','image/png',0);
