INSERT INTO `wp_posts` VALUES (682,29,'2011-03-12 11:03:41','2011-03-12 17:03:41','[caption id=\"attachment_679\" align=\"aligncenter\" width=\"285\" caption=\"The &quot;Madonna Enthroned&quot; \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\"><img class=\"size-full wp-image-679\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\" alt=\"\" width=\"285\" height=\"500\" /></a>[/caption]\n\nhttp://deitchman.com/mcneillslides/images/maestacimabue.jpg\n\n&nbsp;\n\nThe \"Madonna Enthroned\" is an altarpiece painting done by one of the most famous Italian painters Cimabue (1240-1302.) Cimabue was a Florentine painter in the second half of the 13th century and the early years of the 14th century. <!--more-->Although none of his paintings are signed and few are still in tact, his activity in the Basilica of S. Francesco in Assisi is documented in 1280/1290. Cimabue studied with some of the Greek Masters in St. Maria Novella and was involved in the Neo-Hellenistic movement of the Paleo Organ Renaissance. His training was not exclusively Byzantine, although he lived and learned during this time period. The \"Madonna Enthroned\" was an altarpiece painted in or around 1285. This piece was the largest in its class of paintings at the time. The \"Madonna Enthroned\" was a forerunner of the Renaissance style paintings. It is said to have an \"otherworldly appearance\" with its network of gold lines on and around the Madonna. The figures in the “Madonna Enthroned” are flat and almost transparent as gold \"swims\" through them (World Book, 583.) This painting was done as an altarpiece using egg tempera on wood and is 12ft 7.5 inches by 7 ft 4 inches . Cimabue was a patriarch of Italian painting, only five or six of his originals are left today. The \"Madonna Enthroned\" was picked to live in the Uffizi Gallery in Florence, Italy. Cimabue\'s religious Frescos are still housed in the Church of Saint Frances in Italy. Cimabue influenced many painters during and after his time period to shift their techniques and follow the trends of the everchanging artistic world. Cimabue used techniques common in the Byzantine tradition while moving towards a Naturalist and Renaissance style. His spatial depth in the “Madonna Enthroned” created a three-demensional effect uncommon during this time period. Cimabue added a dramatic effect to all of his paintings and changed the art world not only in Italy, but worldwide.\n\nItalian art in the late 13th and 14th centuries differ fundamentally from that  of other countries whose artists usually remained anonymous. In Italy, however, there were numerous Italian painters and sculptors who were known by name to the public and were documented for their works. Each of these artists held a \"body of firmly attributed works\" (Art, 85.) In this time period, Italy was not unified and was made of a large number of states. Italy was more urbanized than many other European countries at the time. Major cities in Europe competed with major cities in Italy with the artistic patronage in Italy. The higher-ups in Italy wanted the churches and local buildings to be bigger and better than the rest of Europe, and wanted them decorated and painted by the BEST artists around. Religion was a major factor of inspiration to all artists during this time. Altarpieces and Frescos dominated the artistic world along with painting and sculptures, usually centered around pulpits and statues of saints. These painting all were housed either inside a church or in a civic building or town hall. The styles of this time period endured for centuries to come. The most popular type of art was made with tempera (wooden panels painted with colors mixed with egg) later called \"egg  tempera.\" The second most popular was called a Fresco, a wall painting that was applied to fresh, damp plaster. Many artist of this time were masters of both of these techniques. Sculpture usually consisted of marble and bronze sometimes gilded with soft layers of gold (this was expensive, so it  wasn\'t near as easy to find.) The people who had money to pay artists for the contributions were the churches. The only documented payment made to Cimabue was for his St. John mosaic in the main apse of the Pisa Cathedral in Italy. Most of Cimabue\'s work was done inside churches throughout Europe. His earliest work was the \"Crucifix\" in S. Domenico, Arrezo painted inside a church.  During this time, art had many influences. The gothic style dominated in Europe. Constantinople was captured by crusaders in 1204 which increased contact between Italian and Byzantine art. Later Byzantine art was \"softened by naturalism and humanity looking forward to the Renaissance\" (Art, 84.)  Cimabue was a master of both egg tempera, frescos and mosaics and his artwork centered around secular subjects adding \"tender humanity\" to each of his pieces (Art, 85.)\n\nThe \"Madonna Enthroned\" is an example of Medieval art with influences of the Byzantine and Gothic era leading up to the Renaissance style of painting. Some of the most stunning pieces of art from this era is in the form of altarpieces installed in churches in honor of one of the saints or the Virgin Mary (Madonna.)  Typical altarpieces were done on one or more wooden panels  coated in a white chalky plaster or \"gesso\" with tempera, which produced dull, flat colors. The altarpiece was then decorated with gold leaf that would reflect the candles lit in the altar for a more dramatic effect (Fiero, 13.34.) Cimabue\'s altarpiece the \"Madonna Enthroned\" used these techniques. His piece showed a scene of the Madonna and her child elevated on a large seat that is a throne and a tower. Angels are all around her and beneath her feet are four Hebrew prophets holding scrolls. The Madonna is centered in the piece and is significantly larger than the rest of the people in the picture, showing her importance. \"Such hierarchic grading, while typical of Medieval art, also characterized Egyptian and Byzantine compositions\" (Fiero, 13.)  Cimabue\'s devotional altar piece is lavish and elegant. It\'s lines are sharp and the metallic detail on the Virgin\'s dark blue drapery sets off the sharp wings of the angels and the distinct features of Christ and the decorative throne. The Virgin has a little more character in her face than what was usual at the time, but like most Byzantine art- all of the faces of the saints, Christ and angels looking similar. Cimabue used egg tempera on wood because it was stable and durable and the colors remained strong through time. The colors are added to the mixed with the solution and applied to the wood. This solution dries quickly so Cimabue (or any artist) could not mix color on the actual Fresco.\n\nCimabue was one the most well-recognized painters in all of Italy. Unlike most European countries, artists in Italy were well-recognized, and their work was attributed to the specific artist. Cimabue was asked to work in numerous churches, and he was paid for his artistic talent.  His nickname was \"Ox-Head\" or \"Bull-Head\"  or \"one who crushes view of others\" due to his aggressive personality. He is said to be one of the \"most dramatic artist influenced by contemporary Byzantine Painting\" (World Book, 583.) Today, artist and art lovers hold Cimabue at a very high standard. His artwork put a new style into motion. His students, Giotto and Duccio, who he worked with around 1280, worked together to create new art styles and change the art world around them. Personally, I love the artwork by Cimabue. I chose this topic originally because it is simply stunning. I am never particularly moved by secular pieces of art, but \"The Madonna Enthroned\" has such a genuine feel to it. The colors are beautiful  but muted and I love the use of gold Cimabue puts into his paintings. I like his combination of Classical, Medieval and Byzantine styles of artwork. I love that the faces have no expression, and that his students, like Giotto, really took his ideas and changed them up. He inspired people to create artwork and to combine artistic knowledge with secular knowledge. Giotto took what he learned from Cimabue and created an entirely new, more Renaissance-inspired style of emotion to his pieces. I like that \"The Madonna Enthroned\" as well as many other pieces of Cimabue\'s was used inside churches as decoration to really inspire spiritual connections and faith. This piece of artwork has so much history, and was made so long ago, but still holds such value in today\'s historical and artistic world. During his time working at St. Francis of Assisi, Cimabue employed numerous assistants and major arists with distinct stlyes. Cimabue worked with  Duccio around 1280 to design a window in the Siena Cathedral in central Italy. Cimabue worked on many other pieces during his time, including Cruicifixes made with egg tempera on  a panel that employed Vitruvius’s homo quadratus schemes (where Christ’s head is equal to the width of his arms outstretched).\n\nGiotto Di Bondone is another famous Florentine painter and architect who lived during Cimabue’s time period, and was said to have been mentored by Cimabue himself. Giotto took Cimabue’s Byzantine traditional style and molded it into his own style, thus leaning towards a naturalist approach. He took flat surface paintings and gave them a three-dimensional look. Giotto used devices that had been forgotten since the Classical Greek world. He added human emotion to his artwork, and told a story with “human pathos and drama” (Art, 84.) Giotto, like Cimabue, was famous throughout Europe and Italy and was sought after by many people. Italian art was never the same after Giotto brought his beautiful Frescos to life. In the “Lamentation of Christ” by Giotto, the Byzantine symbolism of “emotion and suffering” is portrayed in the figures face’s in the painting. Giotto uses composition to bring life to the scene where Christ’s mother and followers mourn his dead body. All of the figures in the scene thrust downward toward Christ and John the Baptists arms lunge backwards to draw attention to the lifeless body. In the background sits a single tree (a medieval symbol of death) and angels fly above the earthbound figures. Each of the figures have unique faces and characteristics. Although all of the people in the picture have a similar griefstruck look, they still have individual emotions. The earthbound figures are still in grief and the angles above them move freely in the sky, maintaining a constant focus on Christ. Unlike Giotto, Cimabue’s figures were lifeless and lacked emotion. Like the Byzantine tradition, all of the faces (Christ, the Virgin, the Saints) all looked almost identical in age and emotion. Giotto set himself apart from Cimabue by leaning towards a humanist/Renaissance approach to emotion and storytelling in his artwork. Cimabue’s paintings, like the “Madonna Enthroned” are touching and meaningful, but the figures in the works lack emotion themselves. Giotto’s artwork is easier to relate to and helps a viewer dive deeper into what the painting is trying to say. Giotto took Cimabue’s techniques and enhanced them in a way that’s easier for a viewer to connect with.\n\n[caption id=\"attachment_680\" align=\"aligncenter\" width=\"300\" caption=\"&quot;The Lamentation of Christ&quot;\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto.jpg\"><img class=\"size-medium wp-image-680\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto-300x281.jpg\" alt=\"\" width=\"300\" height=\"281\" /></a>[/caption]\n\nFor future generations it is important to know the Cimabue was one of the first famous artists of his time. His artistic style was so innovative and precise that he made many other artist create new styles, and inspired them to use his techniques. He studied classical Greek artwork, and was trained by  \"The Greek Masters\" at the Saint Maria Novella. Cimabue was a trained artist and worked hard at his hobby. He was paid for his work, and people felt privileged to work with him and view his incredible masterpieces. Cimabue inspired artist like Giotto to further their career and change the artistic world as we know it. Cimabue used the current artistic styles of his time and molded them into his style and created masterpieces. His art was a forerunner to Renaissance style art and was one of the first in his time to step outside the box and go against the grain, which ultimately made him stand out and live on as a legacy in the artistic world.\n\nWorks Cited\n\nArt: 2,500 Works, Cave to Contemporary. DK Publishing, New York 2008. Pg 85. Print.\n\nEnclyclopedia of World Art Vol  III. Calder- Cosmology. Mcgraw- Hill Book,  London. 1960. Pg 614-619. Print.\n\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\nMatthews, Thomas F. “Byzantium: From Antiquity to the Renaissance.” Calman &amp; King Ltd, New York, 1998. Print.\n\nTurner, Jane. Dictionary of Art. Vol  7.  China V III to Cassa. 1996, Macmillian publishing, NY. Pg 315-318.  Print.\n\nWorld Book. Vol 4. Edition Ci-Cz. Chicago, 1999. Pg 553. Print','The Madonna Enthroned: Cimabue','','inherit','open','open','','677-autosave','','','2011-03-12 11:03:41','2011-03-12 17:03:41','',677,'http://jeanatacc.com/2011/?p=682',0,'revision','',0),(805,9,'2011-04-13 17:02:34','2011-04-13 23:02:34','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\nDuring this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.\r\n\r\n“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.\r\n\r\nDonatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).\r\n\r\nDonatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  “It’s as if the result of his heroic triumph, he has become aware of his body’s beauty and strength.”  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.\r\n\r\nDespite its typicality of its era, Donatello’s David was considered very innovative as it was the “first large-scale, free-standing nude statue of the Renaissance” (Donatello).  During this time, free-standing figures were generally used in architecture.  David provides a subtle independence in Renaissance art and therefore reintroduced to art history that of independent focus on a sculpture.  Donatello’s passion for classical art influenced his bronze creation that he had reclaimed from the ancient world.  A large-scale bronze casting was very unusual for the people of his time, for bronze figures were not seen since antiquity (Harris).\r\n\r\nDonatello also introduced a new style to his rebirth of humanism in his bronze David that was very unusual for his time.  This style had both stepped on toes during its time and called for the attention to this today.  Fiero suggests that Donatello illustrates his rejection of the view of a sinful human body, and instead exalted the body, thus created a nude sculpture.  He viewed “the body as the seat of pleasure” (Fiero).  He adds a sensual visual for his time and has sparked questions of a message of homosexuality for the David.  Such a feminine stance for a male figure was unheard of during the Renaissance, especially since Christianity continued to be increasingly popular among people.  Whether people rejected his innovation and unusual style, Donatello’s David had influenced other great artists to try their own innovative styles and spark questions just like Donatello.\r\n\r\nDuring the Early Renaissance, many people considered paintings and sculptures high class art especially since the wealthy or religious institutions commissioned them.  As the bronze David portrayed a biblical hero that depicted a young boy, an underdog, who withstood attacks from the enemy, so too do the Florentines believe that they were the underdog who were victorious.  They considered Donatello’s David as the symbol of the Republic of Florence because of God’s favor in both him and the city of Florence who were constantly attacked by Milan.  Like David, they believed that they were only victorious with the help of God (Harris).  This illustrates the strength of the Christian church to influence such beliefs throughout history.\r\n\r\nDuring this time, despite its religious framework, many people were appalled that Donatello would create such a figure whose nudity and poise suggest homo-eroticism as a feather from Goliath’s helmet winds up the side of David’s thigh (Harris).  This sparked controversy during the fifteenth-century as the church was very influential in society.  It continues to be discussed today along with the artist’s own sexuality.\r\n\r\nWith the provocative pose of a nude, adolescent boy, people today are less ashamed and self-conscious of this then-innovative art form.  Throughout the years, people have gradually accepted the beauty of the human body as it was reintroduced during the Renaissance.  Some may even go far enough to expose their body in public!   In Smarthistory, Dr. Beth Harris and Dr. Steven Zucker had expressed their modern views about Donatello’s David which can be generalized to the way it is viewed today.  Dr. Zucker expresses that “It feels so much more intimate and so much less public.”   He goes on to argue with Harris that instead of looking proud after his victory over Goliath, David instead looks thoughtful and contemplative as if coming to terms with the events that had just taken place.  He does not deny the fact he shows the slightest hint of pride, but more so of Donatello portraying a sort of increasing wisdom of the young boy.  Harris states that the relaxed contrapposto illustrates confidence holding onto the sword that beheads Goliath, especially with the head of the giant resting on the victory wreath.  These arguments are continuously debated on today.  However, we will never know what the artist portrays in such a beautiful, seductive piece of biblical artwork.\r\n\r\nTo me, I believe this artwork deserves attention, because of its innovative strive to question human sexuality as well as provide both learned and unlearned a look into the Christian teachings.  Two contradictory pieces had ultimately led to an effective piece of artwork that had and still captures the attention of artists today.  I believe it’s necessary for people to acknowledge the importance of such historical piece of art, especially since its beginnings date back to the Early Renaissance where we associate some of the greatest minds to have ever lived.\r\n\r\nDonatello’s David is such an interesting sculpture that although started off private in the courtyard of a powerful family, has gained world-wide fame.  I believe that without the push of the Rebirth of Humanism and the passion for antiquity, much of today’s beliefs would still be as strict and expressions would be limited.  I believe that Donatello successfully broke away from the traditional view of the body full of sin, and thus has influenced many people during its time to express themselves in a new light.  I feel this statue would be essential for future generations to acknowledge the freely expressed views of a true artist.\r\n\r\nAs previously mentioned, Donatello’s David has been overshadowed by Michelangelo’s David built almost a century later.  It’s impossible to overlook Michelangelo’s David which is almost fifteen feet tall!      Unlike Donatello, Michelangelo had sculpted this biblical hero in marble and was meant to be placed in the Cathedral of Florence, rather than a private courtyard.  Of course, Donatello took the spotlight as his bronze David was the first free-standing nude since antiquity, but Michelangelo had been the first to sculpt the first free-standing nude figure in public!  Also unlike Donatello, Michelangelo illustrated David just moments before the fight with Goliath.  Instead Michelangelo presents us with an intensity and look into his quickly acquiring power before the battle (Statue).  Finnan suggested in his comparison of the Davids of Donatello, Verrochio and Michelangelo, that Michelangelo’s David was unusual, because it did not include the head of Goliath considering it was before the beheading.\r\n\r\nOne of the differences that should be acknowledged is the way each artist puts emphasis on his message.  Donatello, for instance, places beauty and sexuality at a higher level of importance as we can see in the well-known contrapposto of his David.  Michelangelo instead focuses more on the character traits of David as he includes his slingshot rather than the head of Goliath.  “The slingshot he carries over his shoulder is almost invisible, emphasizing that David’s victory was one of cleverness, not sheer force” (Bloem).  The physicality is less spotlighted and instead gives the audience a view of the mental state David is in before he engages with Goliath.\r\n\r\nDespite his many differences, we can also find similarities in both Davids.  Of course we have the obvious similarities of the nudity and the contrapposto that both have portrayed and are easily apparent.  In addition to the obvious, just like much of what was brought out of the Renaissance, both sculptures were presented in Florence.  This indicates the influence of antiquity as it was revived during the Early Renaissance.  Both also show a sort of self-awareness, whether physical or mental.  This self-awareness indicates a realization of David’s strength to overcome the giant.\r\n\r\nConsidering its influences to other Davids as well as other various artists, Donatello’s David had visually expressed something more in his art rather than that of pure illustration.  His David had been used for political and religious teachings as well gaining the title of the symbol of the Republic of Florence.  Donatello’s David is beautiful and eccentric and should be saved for future generations, because its unique sexual capacity that evokes questions of the biblical hero to this day.  It will be beneficial for future generations to view the art as a piece of history that influenced much of what they see in art and in society today.\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','publish','open','open','','donatellos-david','','','2011-04-13 17:02:34','2011-04-13 23:02:34','',0,'http://jeanatacc.com/2011/?p=805',0,'post','',12),(684,24,'2011-03-10 01:30:42','2011-03-10 07:30:42','St. Peter’s Basilica of Rome is one of the largest churches in the world. The present structure was built between the years of 1506 and 1626 by multiple artists on the original site of the Vatican cemetery. St. Peter’s Basilica was gradually torn down and replaced over long periods of time. The first church of St. Peter was created by Emperor Constantine during the 4<sup>th</sup> century.\r\n\r\n<!--more-->\r\n\r\nHe built a wood-roofed Basilica over the grave of St. Peter. By the 15<sup>th</sup> century Pope Nicholas V commenced the continuation of the Basilica’s construction by adding a choir and transepts. This work had been completed by 1452. Pope Julius II ordered for the reconstruction of the basilica in 1506. Bramante was assigned as architect of the basilica. Bramante’s original plan was to create a symmetrical Greek cross positioning a large dome over the center. His work was then detained by Raphael (1514), Antonio da San Gallo (1520) and Michelangelo (1547). Michelangelo was successful in finalizing the building up to the drum of the great dome. The finalized design and dome was completed by Giacoma della Porta. By the 16<sup>th</sup> century there was argument over whether the church would be built with a Greek or Latin cross. Carlo Maderno (1607-1614) resolved this dispute with his addition of the Latin cross plan. His cross addition unfortunately obscured the Basilica’s dome. In 1626 the church was dedicated to Rome by pope Urban VIII. The final composition of St. Peter’s was completed by GianLorenzo Bernini (1629-1662). Bernini created a forecourt led by a magnificent piazza. This piazza is surrounded by quadruple colonnades. These colonnades incorporate 284 Doric columns (39 ft. high) and 96 statues of saints. The center of the piazza holds an authentic obelisk of Heliopolis. A monumental avenue was eventually created by Mussolini which led into the piazza. The church’s facade was cleaned and restored from 1996-1999. The church’s dome is 404 ft. (123m) high with an interior diameter of 137 ft. (42 m). Bernini created a baldacchino or a large sculpted bronze canopy within the basilica. Four pillars represented the columns of the Temple of Solomon. Eucharist vines are entwined about the columns symbolize the New Testament. The vines, tassels, banners and angelic figures incorporated into the canopy were all produced in bronze. The canopy was proposed to mark the place of Saint Peter\'s tomb underneath in a monumental manner. Beneath the canopy lies an altar in which only a pope is allowed to read mass. The basilica’s interior is covered with colored marbles, sculptures and fresco decorations.\r\n\r\nThe Basilica is part of the Renaissance architecture era between the 15<sup>th</sup> and 17<sup>th</sup> centuries. This era demonstrated the revitalization of ancient Greek elements and Roman thought. St. Peter’s dome became a requisite element in church architecture that later transcended to secular architecture. The Basilica’s design and everything around it is a part of the Baroque style (1600-1750). The Baroque style originated from Italy bringing a new level of scheme to Western art. Baroque artwork dramatized idealization of figures, settings and perspective. St. Peter’s church was designed to reflect the ideals of the Catholic Reformation.\r\n\r\nThis structure was highly innovative and engineered impeccably.  The church stands out from its peers due to its planned architectural works. The church instills division of relic and innovation, as well as the workings of memory itself. The creation of the Basilica was not unusual during the Baroque period of the renaissance. Baroque architecture, sculptures and paintings became a popular form of art. St. Peter’s Basilica was a representation of ornate beauty through the Baroque style. Architecture promoted the ambitions of rulers and the religious beliefs of Catholics and Protestants. This work was received by Rome from Pope Urban VIII due to the completion of the Basilica.\r\n\r\nToday the public views St. Peter’s Basilica as one of the most renowned churches of worship in the world. Five to ten millions of tourists come to experience the beauty of the church every year. The works within and outside of the church are described as staggering and breath taking. The Basilica is viewed more than just a museum but a place of consecration. People of all ages are moved by the magnificent beauty that is instilled within St. Peter’s. A more intimate experience waits in the tombs below the sanctuary, where both tourists and devotees meander past the tomb of St. Peter and weep openly at the grave of Pope John Paul II. Tourists find themselves pondered in the history, religion and sheer beauty of the place. There are no differences in reception in the past or today. St. Peter’s Basilica is and will always be an everlasting attraction of faith and antiquity.\r\n\r\nThe church’s overall construction and innovative design are the most astounding aspects to it. I find the church to be a unique and historical attribute to the Vatican City. I also think that the most meaningful part of the work is the numerous amounts of devoted workers it took to construct the Basilica and the length of time it took to be finalized.\r\n\r\nSt. Peter’s Basilica of Rome is most significant for future generations to know about because of its beauty and history. I believe this church should be well preserved for the many generations and years to come. This church is a miraculous site especially with its excavations below. Future generations need to understand the amount of time and work that was put into creating such a grand marvel of history. Some of the most renowned artists offered their contribution to creating this structure. The Basilica will always be a place of religious sanctuary and a museum of Vatican history.\r\n\r\n&nbsp;','St. Peter\'s Basilica of Rome','','publish','open','open','','st-peters-basilica-of-rome','','','2011-03-10 15:55:33','2011-03-10 21:55:33','',0,'http://jeanatacc.com/2011/?p=684',0,'post','',6),(685,24,'2011-03-10 01:29:38','2011-03-10 07:29:38','St. Peter’s Basilica of Rome is one of the largest churches in the world. The present structure was built between the years of 1506 and 1626 by multiple artists on the original site of the Vatican cemetery. St. Peter’s Basilica was gradually torn down and replaced over long periods of time. The first church of St. Peter was created by Emperor Constantine during the 4<sup>th</sup> century.<!--more-->\n\nHe built a wood-roofed Basilica over the grave of St. Peter. By the 15<sup>th</sup> century Pope Nicholas V commenced the continuation of the Basilica’s construction by adding a choir and transepts. This work had been completed by 1452. Pope Julius II ordered for the reconstruction of the basilica in 1506. Bramante was assigned as architect of the basilica. Bramante’s original plan was to create a symmetrical Greek cross positioning a large dome over the center. His work was then detained by Raphael (1514), Antonio da San Gallo (1520) and Michelangelo (1547). Michelangelo was successful in finalizing the building up to the drum of the great dome. The finalized design and dome was completed by Giacoma della Porta. By the 16<sup>th</sup> century there was argument over whether the church would be built with a Greek or Latin cross. Carlo Maderno (1607-1614) resolved this dispute with his addition of the Latin cross plan. His cross addition unfortunately obscured the Basilica’s dome. In 1626 the church was dedicated to Rome by pope Urban VIII. The final composition of St. Peter’s was completed by GianLorenzo Bernini (1629-1662). Bernini created a forecourt led by a magnificent piazza. This piazza is surrounded by quadruple colonnades. These colonnades incorporate 284 Doric columns (39 ft. high) and 96 statues of saints. The center of the piazza holds an authentic obelisk of Heliopolis. A monumental avenue was eventually created by Mussolini which led into the piazza. The church’s facade was cleaned and restored from 1996-1999. The church’s dome is 404 ft. (123m) high with an interior diameter of 137 ft. (42 m). Bernini created a baldacchino or a large sculpted bronze canopy within the basilica. Four pillars represented the columns of the Temple of Solomon. Eucharist vines are entwined about the columns symbolize the New Testament. The vines, tassels, banners and angelic figures incorporated into the canopy were all produced in bronze. The canopy was proposed to mark the place of Saint Peter\'s tomb underneath in a monumental manner. Beneath the canopy lies an altar in which only a pope is allowed to read mass. The basilica’s interior is covered with colored marbles, sculptures and fresco decorations.\n\nThe Basilica is part of the Renaissance architecture era between the 15<sup>th</sup> and 17<sup>th</sup> centuries. This era demonstrated the revitalization of ancient Greek elements and Roman thought. St. Peter’s dome became a requisite element in church architecture that later transcended to secular architecture. The Basilica’s design and everything around it is a part of the Baroque style (1600-1750). The Baroque style originated from Italy bringing a new level of scheme to Western art. Baroque artwork dramatized idealization of figures, settings and perspective. St. Peter’s church was designed to reflect the ideals of the Catholic Reformation.\n\nThis structure was highly innovative and engineered impeccably.  The church stands out from its peers due to its planned architectural works. The church instills division of relic and innovation, as well as the workings of memory itself. The creation of the Basilica was not unusual during the Baroque period of the renaissance. Baroque architecture, sculptures and paintings became a popular form of art. St. Peter’s Basilica was a representation of ornate beauty through the Baroque style. Architecture promoted the ambitions of rulers and the religious beliefs of Catholics and Protestants. This work was received by Rome from Pope Urban VIII due to the completion of the Basilica.\n\nToday the public views St. Peter’s Basilica as one of the most renowned churches of worship in the world. Five to ten millions of tourists come to experience the beauty of the church every year. The works within and outside of the church are described as staggering and breath taking. The Basilica is viewed more than just a museum but a place of consecration. People of all ages are moved by the magnificent beauty that is instilled within St. Peter’s. A more intimate experience waits in the tombs below the sanctuary, where both tourists and devotees meander past the tomb of St. Peter and weep openly at the grave of Pope John Paul II. Tourists find themselves pondered in the history, religion and sheer beauty of the place. There are no differences in reception in the past or today. St. Peter’s Basilica is and will always be an everlasting attraction of faith and antiquity.\n\nThe church’s overall construction and innovative design are the most astounding aspects to it. I find the church to be a unique and historical attribute to the Vatican City. I also think that the most meaningful part of the work is the numerous amounts of devoted workers it took to construct the Basilica and the length of time it took to be finalized.\n\nSt. Peter’s Basilica of Rome is most significant for future generations to know about because of its beauty and history. I believe this church should be well preserved for the many generations and years to come. This church is a miraculous site especially with its excavations below. Future generations need to understand the amount of time and work that was put into creating such a grand marvel of history. Some of the most renowned artists offered their contribution to creating this structure. The Basilica will always be a place of religious sanctuary and a museum of Vatican history.\n\n&nbsp;','St. Peter\'s Basilica of Rome','','inherit','open','open','','684-revision','','','2011-03-10 01:29:38','2011-03-10 07:29:38','',684,'http://jeanatacc.com/2011/?p=685',0,'revision','',0),(686,24,'2011-03-10 01:30:38','2011-03-10 07:30:38','St. Peter’s Basilica of Rome is one of the largest churches in the world. The present structure was built between the years of 1506 and 1626 by multiple artists on the original site of the Vatican cemetery. St. Peter’s Basilica was gradually torn down and replaced over long periods of time. The first church of St. Peter was created by Emperor Constantine during the 4<sup>th</sup> century.\n\n<!--more-->\n\nHe built a wood-roofed Basilica over the grave of St. Peter. By the 15<sup>th</sup> century Pope Nicholas V commenced the continuation of the Basilica’s construction by adding a choir and transepts. This work had been completed by 1452. Pope Julius II ordered for the reconstruction of the basilica in 1506. Bramante was assigned as architect of the basilica. Bramante’s original plan was to create a symmetrical Greek cross positioning a large dome over the center. His work was then detained by Raphael (1514), Antonio da San Gallo (1520) and Michelangelo (1547). Michelangelo was successful in finalizing the building up to the drum of the great dome. The finalized design and dome was completed by Giacoma della Porta. By the 16<sup>th</sup> century there was argument over whether the church would be built with a Greek or Latin cross. Carlo Maderno (1607-1614) resolved this dispute with his addition of the Latin cross plan. His cross addition unfortunately obscured the Basilica’s dome. In 1626 the church was dedicated to Rome by pope Urban VIII. The final composition of St. Peter’s was completed by GianLorenzo Bernini (1629-1662). Bernini created a forecourt led by a magnificent piazza. This piazza is surrounded by quadruple colonnades. These colonnades incorporate 284 Doric columns (39 ft. high) and 96 statues of saints. The center of the piazza holds an authentic obelisk of Heliopolis. A monumental avenue was eventually created by Mussolini which led into the piazza. The church’s facade was cleaned and restored from 1996-1999. The church’s dome is 404 ft. (123m) high with an interior diameter of 137 ft. (42 m). Bernini created a baldacchino or a large sculpted bronze canopy within the basilica. Four pillars represented the columns of the Temple of Solomon. Eucharist vines are entwined about the columns symbolize the New Testament. The vines, tassels, banners and angelic figures incorporated into the canopy were all produced in bronze. The canopy was proposed to mark the place of Saint Peter\'s tomb underneath in a monumental manner. Beneath the canopy lies an altar in which only a pope is allowed to read mass. The basilica’s interior is covered with colored marbles, sculptures and fresco decorations.\n\nThe Basilica is part of the Renaissance architecture era between the 15<sup>th</sup> and 17<sup>th</sup> centuries. This era demonstrated the revitalization of ancient Greek elements and Roman thought. St. Peter’s dome became a requisite element in church architecture that later transcended to secular architecture. The Basilica’s design and everything around it is a part of the Baroque style (1600-1750). The Baroque style originated from Italy bringing a new level of scheme to Western art. Baroque artwork dramatized idealization of figures, settings and perspective. St. Peter’s church was designed to reflect the ideals of the Catholic Reformation.\n\nThis structure was highly innovative and engineered impeccably.  The church stands out from its peers due to its planned architectural works. The church instills division of relic and innovation, as well as the workings of memory itself. The creation of the Basilica was not unusual during the Baroque period of the renaissance. Baroque architecture, sculptures and paintings became a popular form of art. St. Peter’s Basilica was a representation of ornate beauty through the Baroque style. Architecture promoted the ambitions of rulers and the religious beliefs of Catholics and Protestants. This work was received by Rome from Pope Urban VIII due to the completion of the Basilica.\n\nToday the public views St. Peter’s Basilica as one of the most renowned churches of worship in the world. Five to ten millions of tourists come to experience the beauty of the church every year. The works within and outside of the church are described as staggering and breath taking. The Basilica is viewed more than just a museum but a place of consecration. People of all ages are moved by the magnificent beauty that is instilled within St. Peter’s. A more intimate experience waits in the tombs below the sanctuary, where both tourists and devotees meander past the tomb of St. Peter and weep openly at the grave of Pope John Paul II. Tourists find themselves pondered in the history, religion and sheer beauty of the place. There are no differences in reception in the past or today. St. Peter’s Basilica is and will always be an everlasting attraction of faith and antiquity.\n\nThe church’s overall construction and innovative design are the most astounding aspects to it. I find the church to be a unique and historical attribute to the Vatican City. I also think that the most meaningful part of the work is the numerous amounts of devoted workers it took to construct the Basilica and the length of time it took to be finalized.\n\nSt. Peter’s Basilica of Rome is most significant for future generations to know about because of its beauty and history. I believe this church should be well preserved for the many generations and years to come. This church is a miraculous site especially with its excavations below. Future generations need to understand the amount of time and work that was put into creating such a grand marvel of history. Some of the most renowned artists offered their contribution to creating this structure. The Basilica will always be a place of religious sanctuary and a museum of Vatican history.\n\n&nbsp;','St. Peter\'s Basilica of Rome','','inherit','open','open','','684-revision-2','','','2011-03-10 01:30:38','2011-03-10 07:30:38','',684,'http://jeanatacc.com/2011/?p=686',0,'revision','',0),(687,1,'2011-03-09 23:00:15','2011-03-10 05:00:15','[caption id=\"attachment_679\" align=\"aligncenter\" width=\"285\" caption=\"The &quot;Madonna Enthroned&quot; \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\"><img class=\"size-full wp-image-679\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\" alt=\"\" width=\"285\" height=\"500\" /></a>[/caption]\r\n\r\nThe \"Madonna Enthroned\" is an altarpiece painting done by one of the most famous Italian painters Cimabue (1240-1302.) Cimabue was a Florentine painter in the second half of the 13th century and the early years of the 14th century. Although none of his paintings are signed and few are still in tact, his activity in the Basilica of S. Francesco in Assisi is documented in 1280/1290. Cimabue studied with some of the Greek Masters in St. Maria Novella and was involved in the Neo-Hellenistic movement of the Paleo Organ Renaissance. His training was not exclusively Byzantine, although he lived and learned during this time period. The \"Madonna Enthroned\" was an altarpiece painted in or around 1285. This piece was the largest in its class of paintings at the time. The \"Madonna Enthroned\" was a forerunner of the Renaissance style paintings. It is said to have an \"otherworldly appearance\" with its network of gold lines on and around the Madonna. The figures in the “Madonna Enthroned” are flat and almost transparent as gold \"swims\" through them (World Book, 583.) This painting was done as an altarpiece using egg tempera on wood and is 12ft 7.5 inches by 7 ft 4 inches . Cimabue was a patriarch of Italian painting, only five or six of his originals are left today. The \"Madonna Enthroned\" was picked to live in the Uffizi Gallery in Florence, Italy. Cimabue\'s religious Frescos are still housed in the Church of Saint Frances in Italy. Cimabue influenced many painters during and after his time period to shift their techniques and follow the trends of the everchanging artistic world. Cimabue used techniques common in the Byzantine tradition while moving towards a Naturalist and Renaissance style. His spatial depth in the “Madonna Enthroned” created a three-demensional effect uncommon during this time period. Cimabue added a dramatic effect to all of his paintings and changed the art world not only in Italy, but worldwide.\r\n\r\n<!--more-->\r\n\r\nItalian art in the late 13th and 14th centuries differ fundamentally from that  of other countries whose artists usually remained anonymous. In Italy, however, there were numerous Italian painters and sculptors who were known by name to the public and were documented for their works. Each of these artists held a \"body of firmly attributed works\" (Art, 85.) In this time period, Italy was not unified and was made of a large number of states. Italy was more urbanized than many other European countries at the time. Major cities in Europe competed with major cities in Italy with the artistic patronage in Italy. The higher-ups in Italy wanted the churches and local buildings to be bigger and better than the rest of Europe, and wanted them decorated and painted by the BEST artists around. Religion was a major factor of inspiration to all artists during this time. Altarpieces and Frescos dominated the artistic world along with painting and sculptures, usually centered around pulpits and statues of saints. These painting all were housed either inside a church or in a civic building or town hall. The styles of this time period endured for centuries to come. The most popular type of art was made with tempera (wooden panels painted with colors mixed with egg) later called \"egg  tempera.\" The second most popular was called a Fresco, a wall painting that was applied to fresh, damp plaster. Many artist of this time were masters of both of these techniques. Sculpture usually consisted of marble and bronze sometimes gilded with soft layers of gold (this was expensive, so it  wasn\'t near as easy to find.) The people who had money to pay artists for the contributions were the churches. The only documented payment made to Cimabue was for his St. John mosaic in the main apse of the Pisa Cathedral in Italy. Most of Cimabue\'s work was done inside churches throughout Europe. His earliest work was the \"Crucifix\" in S. Domenico, Arrezo painted inside a church.  During this time, art had many influences. The gothic style dominated in Europe. Constantinople was captured by crusaders in 1204 which increased contact between Italian and Byzantine art. Later Byzantine art was \"softened by naturalism and humanity looking forward to the Renaissance\" (Art, 84.)  Cimabue was a master of both egg tempera, frescos and mosaics and his artwork centered around secular subjects adding \"tender humanity\" to each of his pieces (Art, 85.)\r\n\r\nThe \"Madonna Enthroned\" is an example of Medieval art with influences of the Byzantine and Gothic era leading up to the Renaissance style of painting. Some of the most stunning pieces of art from this era is in the form of altarpieces installed in churches in honor of one of the saints or the Virgin Mary (Madonna.)  Typical altarpieces were done on one or more wooden panels  coated in a white chalky plaster or \"gesso\" with tempera, which produced dull, flat colors. The altarpiece was then decorated with gold leaf that would reflect the candles lit in the altar for a more dramatic effect (Fiero, 13.34.) Cimabue\'s altarpiece the \"Madonna Enthroned\" used these techniques. His piece showed a scene of the Madonna and her child elevated on a large seat that is a throne and a tower. Angels are all around her and beneath her feet are four Hebrew prophets holding scrolls. The Madonna is centered in the piece and is significantly larger than the rest of the people in the picture, showing her importance. \"Such hierarchic grading, while typical of Medieval art, also characterized Egyptian and Byzantine compositions\" (Fiero, 13.)  Cimabue\'s devotional altar piece is lavish and elegant. It\'s lines are sharp and the metallic detail on the Virgin\'s dark blue drapery sets off the sharp wings of the angels and the distinct features of Christ and the decorative throne. The Virgin has a little more character in her face than what was usual at the time, but like most Byzantine art- all of the faces of the saints, Christ and angels looking similar. Cimabue used egg tempera on wood because it was stable and durable and the colors remained strong through time. The colors are added to the mixed with the solution and applied to the wood. This solution dries quickly so Cimabue (or any artist) could not mix color on the actual Fresco.\r\n\r\nCimabue was one the most well-recognized painters in all of Italy. Unlike most European countries, artists in Italy were well-recognized, and their work was attributed to the specific artist. Cimabue was asked to work in numerous churches, and he was paid for his artistic talent.  His nickname was \"Ox-Head\" or \"Bull-Head\"  or \"one who crushes view of others\" due to his aggressive personality. He is said to be one of the \"most dramatic artist influenced by contemporary Byzantine Painting\" (World Book, 583.) Today, artist and art lovers hold Cimabue at a very high standard. His artwork put a new style into motion. His students, Giotto and Duccio, who he worked with around 1280, worked together to create new art styles and change the art world around them. Personally, I love the artwork by Cimabue. I chose this topic originally because it is simply stunning. I am never particularly moved by secular pieces of art, but \"The Madonna Enthroned\" has such a genuine feel to it. The colors are beautiful  but muted and I love the use of gold Cimabue puts into his paintings. I like his combination of Classical, Medieval and Byzantine styles of artwork. I love that the faces have no expression, and that his students, like Giotto, really took his ideas and changed them up. He inspired people to create artwork and to combine artistic knowledge with secular knowledge. Giotto took what he learned from Cimabue and created an entirely new, more Renaissance-inspired style of emotion to his pieces. I like that \"The Madonna Enthroned\" as well as many other pieces of Cimabue\'s was used inside churches as decoration to really inspire spiritual connections and faith. This piece of artwork has so much history, and was made so long ago, but still holds such value in today\'s historical and artistic world. During his time working at St. Francis of Assisi, Cimabue employed numerous assistants and major arists with distinct stlyes. Cimabue worked with  Duccio around 1280 to design a window in the Siena Cathedral in central Italy. Cimabue worked on many other pieces during his time, including Cruicifixes made with egg tempera on  a panel that employed Vitruvius’s homo quadratus schemes (where Christ’s head is equal to the width of his arms outstretched).\r\n\r\nGiotto Di Bondone is another famous Florentine painter and architect who lived during Cimabue’s time period, and was said to have been mentored by Cimabue himself. Giotto took Cimabue’s Byzantine traditional style and molded it into his own style, thus leaning towards a naturalist approach. He took flat surface paintings and gave them a three-dimensional look. Giotto used devices that had been forgotten since the Classical Greek world. He added human emotion to his artwork, and told a story with “human pathos and drama” (Art, 84.) Giotto, like Cimabue, was famous throughout Europe and Italy and was sought after by many people. Italian art was never the same after Giotto brought his beautiful Frescos to life. In the “Lamentation of Christ” by Giotto, the Byzantine symbolism of “emotion and suffering” is portrayed in the figures face’s in the painting. Giotto uses composition to bring life to the scene where Christ’s mother and followers mourn his dead body. All of the figures in the scene thrust downward toward Christ and John the Baptists arms lunge backwards to draw attention to the lifeless body. In the background sits a single tree (a medieval symbol of death) and angels fly above the earthbound figures. Each of the figures have unique faces and characteristics. Although all of the people in the picture have a similar griefstruck look, they still have individual emotions. The earthbound figures are still in grief and the angles above them move freely in the sky, maintaining a constant focus on Christ. Unlike Giotto, Cimabue’s figures were lifeless and lacked emotion. Like the Byzantine tradition, all of the faces (Christ, the Virgin, the Saints) all looked almost identical in age and emotion. Giotto set himself apart from Cimabue by leaning towards a humanist/Renaissance approach to emotion and storytelling in his artwork. Cimabue’s paintings, like the “Madonna Enthroned” are touching and meaningful, but the figures in the works lack emotion themselves. Giotto’s artwork is easier to relate to and helps a viewer dive deeper into what the painting is trying to say. Giotto took Cimabue’s techniques and enhanced them in a way that’s easier for a viewer to connect with.\r\n\r\n[caption id=\"attachment_680\" align=\"aligncenter\" width=\"300\" caption=\"&quot;The Lamentation of Christ&quot;\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto.jpg\"><img class=\"size-medium wp-image-680\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto-300x281.jpg\" alt=\"\" width=\"300\" height=\"281\" /></a>[/caption]\r\n\r\n For future generations it is important to know the Cimabue was one of the first famous artists of his time. His artistic style was so innovative and precise that he made many other artist create new styles, and inspired them to use his techniques. He studied classical Greek artwork, and was trained by  \"The Greek Masters\" at the Saint Maria Novella. Cimabue was a trained artist and worked hard at his hobby. He was paid for his work, and people felt privileged to work with him and view his incredible masterpieces. Cimabue inspired artist like Giotto to further their career and change the artistic world as we know it. Cimabue used the current artistic styles of his time and molded them into his style and created masterpieces. His art was a forerunner to Renaissance style art and was one of the first in his time to step outside the box and go against the grain, which ultimately made him stand out and live on as a legacy in the artistic world.\r\n\r\nWorks Cited\r\n\r\n Art: 2,500 Works, Cave to Contemporary. DK Publishing, New York 2008. Pg 85. Print.\r\n\r\n Enclyclopedia of World Art Vol  III. Calder- Cosmology. Mcgraw- Hill Book,  London. 1960. Pg 614-619. Print.\r\n\r\n Fiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\n Matthews, Thomas F. “Byzantium: From Antiquity to the Renaissance.” Calman &amp; King Ltd, New York, 1998. Print.\r\n\r\n Turner, Jane. Dictionary of Art. Vol  7.  China V III to Cassa. 1996, Macmillian publishing, NY. Pg 315-318.  Print.\r\n\r\nWorld Book. Vol 4. Edition Ci-Cz. Chicago, 1999. Pg 553. Print','The Madonna Enthroned: Cimabue','','inherit','open','open','','677-revision-2','','','2011-03-09 23:00:15','2011-03-10 05:00:15','',677,'http://jeanatacc.com/2011/?p=687',0,'revision','',0),(688,1,'2011-03-09 22:26:13','2011-03-10 04:26:13','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/chartrestext.png\"><img class=\"aligncenter size-medium wp-image-662\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/chartrestext-201x300.png\" alt=\"\" width=\"201\" height=\"300\" /></a>http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13021.png</p>\r\nThe Chartres Cathedral is a Gothic style cathedral located in Chartres, France constructed by unknown architects. Chartres is fifty miles southwest of Paris. The nave of the church, the area that is central and open inside a church, is 122 feet high (Fiero B2.111). The height of the clerestory, or high wall with a line of windows along the top, and the nave arcade are both three times the height of the triforium (Craven, “What is a ‘Clerestory’”). A triforium is “a gallery forming an upper story to the aisle of a church and typically an arcaded story between the nave arches and clerestory” (“Triforium”). Basically, standing inside the cathedral, one will be standing in a very spacious room with high arched ceilings. There are approximately 150-170 medieval stained glass windows in the cathedral (Hayes, “Chartres”). From approximately 876 to hundreds of years later, the crypt in the church contained the tunic worn by Mary during the birth of Jesus Christ (\"The Wondrous Background\"). Today the tunic is preserved behind glass and is on display in the back, left-hand side of the church (\"Cathedrale de Chartres\"). Chartres also has three portals on sides of the structure that set it apart from other cathedrals (Hayes, “Chartres”). Studying the features of this Gothic cathedral provides us with a look into the past and lets us see the impact it had during the time it was constructed as well as its impact today.<!--more-->\r\n\r\nThere is no exact date of when the Chartres Cathedral was built from bottom to top. There were many churches built prior to the Chartres Cathedral on the same site that were destroyed by fires. In fact, fires occurred frequently in the history of the cathedral and there was much rebuilding. On the site, in 1020, the Church of Gislebert burned down. In 1134, a fire hit the town of Chartres and burned down the church. That fire affected the western porch and conjoining belfry, or bell tower. Reconstruction began around 1140 and the towers of the cathedral were built. Unfortunately, a big fire burned down a majority of the church in 1194. People were worried the Sancta Camisia, the tunic of the Blessed Virgin Mary, had been lost. There is evidence the tunic had been stored in a church on the Chartres site as early as 876 (Hayes, “Chartres”). Luckily, it was recovered unharmed and the bishop proclaimed it was a sign from Mary that a more magnificent cathedral should be built. Donations came in from all over France and the rebuilding began. By 1220, the main structure was complete and on October 24, 1260, the cathedral was dedicated to King Louis IX and his family (Hayes, “Chartres”). Disregarding prior buildings on this site, it could be stated that the Chartres Cathedral that stands today was built from 1194-1260.\r\n\r\nThe Cathedral of Chartres existed during the High Middle Ages, a time where religion, specifically Christianity, played a huge role in multiple aspects of society. Politics, education, and social status were all affected by religion. In 1054, the Eastern and Western churches split and separately became the Christian Church of Rome and the Greek Orthodox Church in Constantinople (Fiero B2.111). In the West, the papacy installed the College of Cardinals in 1022 in order to guarantee independence of the Church from secular interference (Fiero B2.110). Popes were elected by the College of Cardinals had power and were in a way like secular monarchs responsible for governing a “complex bureaucracy that incorporated financial, judicial, and disciplinary branches.” By the end of the twelfth century, the Catholic Church was very wealthy due to many Christian donations and controlled the most land in Western Europe (Fiero B2.110).\r\n\r\nPolitics and religion crossed paths when the Church enforced religious obedience. There were penalties such as excommunication, or exclusion from the sacraments, and interdict, the excommunication of cities or states. Denying people of the truths of Christianity, or heresy, caused opposing groups to form like the Waldensians. The Waldensians followed the reformer Peter Waldo, who believed the Bible should be translated into the vernacular (Fiero B2.110). In response to some groups’ anticlericalism, the Church launched violent antiheretical crusades. The pope established the Inquisition, an antiheretical court, in 1233 and it tried people accused as heretics. Sometimes physical force was used on the accused to get him/her to confess. It went as far as hanging or burning at the stake those whom could not be “restored to the faith” (Fiero B2.111).\r\n\r\nThe Church civilized society by enforcing non-violent periods, taking care of the poor, sick, and homeless, and by contributing to orphanages, hospitals, or other organizations. The Church had a huge amount of power and the papacy was the most powerful institution in Western Europe at some point (Fiero B2.111). Culture was influenced by religion, so people tried to live a healthy, Christian life in order to be guaranteed a spot in Heaven. Also, if one did not live a Christian life and violated a practice of the church, one would be at risk for facing excommunication or possibly worse punishments. Social status depended on relation to the church; popes had a lot of nobility.\r\n\r\nThe Chartres Cathedral is typical of this era because during this era, a majority of life revolved around the Church, so the church was built in a large, grandeur, awe-inspiring manner. The huge size made it a main focus of the town and other buildings were nothing compared to its architecture. The Gothic architecture of piercing tall towers, detailed sculpting around the exterior, and magnificent stained glass are powerful, symbolic, and simply amazing.\r\n\r\nStained glass was magnificently created to represent a Christian event or belief. Romanesque style in the stained glass can be seen in the composition and arrangement of dress folds in Chartres (\"Chartres Cathedral\" 46-47). For example, the three West Rose windows depict the Last Judgment; there are Passion and Resurrection, Incarnation, and Tree of Jesse windows (Hayes, “Chartres\"). Gothic innovation included experimentation with color, and a new color, “Chartres blue,” was first used on the three West Rose windows (\"Chartres Cathedral \" 46-47). There are other beautiful stained glass windows on the North Rose and South Rose, too. Today, 152 of the original 186 windows are still in place (\"Chartres Cathedral \" 46-47).\r\n\r\nChartres contained unique elements new to the era. For example, flying buttresses were needed to support the tall structures of the cathedral. “Chartres was the first building on which buttresses were used as a structural element that determined the overall external appearance of the building” (Hayes, “Chartres”). A flying buttress is a support attached to the main structure by an arch or half-arch (Craven, “What is a ‘Buttress?’”). The flying buttresses on Chartres make it an even more complex structure and add to its greatness.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/churchlingo.png\"><img class=\"aligncenter size-medium wp-image-666\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/churchlingo-283x300.png\" alt=\"\" width=\"283\" height=\"300\" /></a>http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13019.png</p>\r\nAnother unique feature of Chartres is the different heights of the west spires. A spire is, “a structure or formation, such as a steeple, that tapers to a point at the top” (“Spire”). The south spire is from the 1140s and is a 349-foot plain Romanesque pyramid while the north is a 377-foot elaborate Gothic spire from the early 16<sup>th</sup> century (Hayes, “Chartres”). Even though the different spires are uneven, there is still an impact of their greatness and height.\r\n\r\nThe Chartres Cathedral has unique North, South, and West (Royal) portals, or openings or entrances in the walls of a building. The Royal portals were finished in 1150 and they are one of the surviving architectural features of the cathedral (Hayes, “Chartres”). The Royal portals are a major monument of Gothic sculpture (Farber). There are elongated statues of expressive kings, queens, and other Old Testament figures looking down with “elegant condescension” decorating it (Hayes, “Chartres”). Transition from Romanesque to Gothic style is visible because the elongation of the figures reflects the past and the realistic, expressive faces reflect the newer Gothic style.\r\n\r\nThe completion of Chartres after the fire of 1194 was received as hopeful, uplifting, and inspiring. Since the Sancta Camisia survived the devastating fire and the church was repaired and added onto in honor of Mary, its completion touched people in a religious manner and increased overall faith of the city (\"The Wondrous Background\"). It is said that the Sancta Camisia was given to the cathedral by Charlemagne; he had received it as a gift during a journey to Jerusalem (Hayes, “Chartres”). It is amazing that an ancient piece of cloth could survive a fire that damaged other sections of the church.\r\n\r\nToday, the cathedral is still breath taking. Seen from a distance, Chartres Cathedral seems to tower alone, but as one gets closer, the surrounding city and its structures come into view (Hayes, “Chartres”). One could not help but gaze in awe at the vibrant, detailed stained glass the cathedral holds, too. In one of the oldest windows of the cathedral, the combination of reds and blues influenced it’s naming of “Notre Dame de la Belle Verrière, or “Our Lady of the Beautiful Glass.” The Virgin Mary is seen as both Mother of God and Queen of Heaven. Jesus is sitting on her lap in front of her womb, so she is depicted as the Seat of Wisdom (Fiero B2.133). In order to see the symbolism in the beautiful glass, it takes more than just a simple glance. These windows remain just as powerful today as they were back in medieval times.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/stained-glass.png\"><img class=\"aligncenter size-medium wp-image-664\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/stained-glass-179x300.png\" alt=\"\" width=\"179\" height=\"300\" /></a>\r\n<p style=\"text-align: center\">http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13029.png</p>\r\nThere was probably more celebration and pride of the people living when it was constructed after the fire of 1194 versus now because in today’s world, the chances of a fire occurring and ruining the cathedral and its contents is slim due to regulated security precautions. The cathedral today has many visitors from all over the world and is seen somewhat in a tourist manner versus back in the Middle Ages when its only purpose was that of religion. Yes, it is still a sacred place today, but there are also people simply there for tourism.\r\n\r\nMy personal reaction to the work initially was that I was stunned at its height, pointy towers, and magnificent stained glass windows. At first I had no idea of its history, architectural features, and overall depth as a sacred building. I just saw it as a huge cathedral. After researching and learning its history and details about its features and contents, I was blown away. Uncovering the details of Chartres expanded my architectural vocabulary, too. I had no idea to some of the terms used in reference to the cathedral so I learned a handful of new terms.\r\n\r\nI found the fact that there had been a church on this same site in Chartres since at least 876 until now was incredible (Hayes, “Chartres”). I found it meaningful that when a fire damaged parts of the church in 1194, but the tunic of Mary survived, Christians were so touched by this that donations and work allowed for the repairing and constructing of the Cathedral as it is seen today. The people took the survival of the Sancta Camisia as a religious sign so dedicated making the cathedral into an astonishing structure. This was an inspirational story I had no idea existed behind this brilliant building.\r\n\r\nThe Chartres Cathedral is not the only well-known cathedral in France; Sainte Chapelle may be a small cathedral, but it is just as powerful. Sainte Chapelle was commissioned for the Ile de France by King Louis IX (Fiero B2.135). The structure was finished in 1248 after two years of constructing (Hayes, “Sainte-Chapelle”). Comparing the Chartres Cathedral to Sainte Chapelle, Chartres is a monster. The size difference is highly noticeable. It has a small and humble exterior, unlike the Chartres (Hayes, “Sainte-Chapelle”). Despite the differences, there are similarities between the two structures.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/saintchapelle.png\"><img class=\"aligncenter size-medium wp-image-663\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/saintchapelle-257x300.png\" alt=\"\" width=\"257\" height=\"300\" /></a>http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13032.png</p>\r\nBoth of these buildings have stained glass windows. Sainte Chapelle has 49-foot high lancet windows on the upper level that show off the vivid red and purplish blue glass. There are also over a thousand stories depicted in the windows (Fiero B2.135). While Chartres does have stained glass, Sainte Chapelle is characterized by its stained glass and is known as the medieval “jewelbox” (Fiero B2.135). While inside the church, there “is a feeling of being enveloped in light and color” (Hayes, “Sainte-Chapelle”).\r\n\r\nThe Chartres Cathedral’s flamboyant Gothic architecture, as seen through the towering spires, height of the nave, stained glass, and unique portals, is significant for future generations to appreciate. If studied, the history can be learned and allow for generations in the future to see what life was like in the medieval time period. Differences in architecture of buildings then compared to now explains a lot about the values and cultures of societies at the different times. For the detailed architecture and beauty achieved in Chartres, no words can describe the amount of effort, faith, and heart put into it by the Christians of the medieval time period. Future generations will look over this cathedral and miss the inspirational history and unique architectural details of it unless this is preserved. This needs to be preserved so future generations can see the importance behind historical buildings like the Chartres Cathedral.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\n\"Cathedrale de Chartres.\" <em>Paris Bestlodge.com</em> n. pag. Web. 9 Mar 2011. &lt;http://www.parisbestlodge.com/chartres1.html&gt;. This site was a travel site and briefly described a few features of the cathedral. It helped me get information on where the Sancta Camisia is found today.\r\n\r\n\"Chartres Cathedral and its Stained Glass.\" <em>Athena Review</em> 2005: 46-47. Web. 9 Mar 2011. &lt;http://www.athenapub.com/14chartres.htm&gt;. This was a magazine article that described the stained glass in Chartres. I found details about the stained glass windows.\r\n\r\nCraven, Jackie. \"What Is a \"Buttress?” What Is a \"Flying Buttress\"?.\" <em>About.com Architecture</em> n. pag. Web. 9 Mar 2011. &lt;http://architecture.about.com/od/buildingparts/g/buttresses.htm&gt;. This website defined the word “buttress.”\r\n\r\n---. \"What is a \"Clerestory\" Window?.\" <em>About.com Architecture</em> n. pag. Web. 9 Mar 2011. &lt;http://architecture.about.com/od/structural/g/clerestory.htm&gt;. This website defined the word “clerestory window.”\r\n\r\nFarber, Allen. \"The Royal Portals of Chartres.\" <em>Art History Courses</em>. N.p., 2010. Web. 9 Mar 2011. &lt;http://www.oneonta.edu/faculty/farberas/arth/arth212/Royal_Portals.html&gt;. This was a site that described the Royal Portals, or West Portals, of Chartres. I found details on the structure.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B2.110-135. eBook. This is a humanities online textbook. In the Gotchic and medieval chapters it describes the history, literature, architecture, and other unique events or items of the time period. I used this to get information on the history of the medieval time period and I found information on the Chartres Cathedral’s features.\r\n\r\nHayes, Holly. \"Chartres Cathedral.\" <em>Sacred Destinations</em> (2010): n. pag. Web. 9 Mar 2011. &lt;http://www.sacred-destinations.com/france/chartres-cathedral&gt;.\r\n\r\n---. \"Sainte-Chapelle, Paris.\" <em>Sacred Destinations</em> (2010): n. pag. Web. 9 Mar 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;. This was a website that described Sainte-Chapelle. I gathered information in order to make a comparison to Chartres.\r\n\r\n\"Spire.\" <span style=\"text-decoration: underline\">The American Heritage® Dictionary of the English Language, Fourth Edition</span>. 2003. Houghton Mifflin Company 9 Mar. 2011 &lt;http://www.thefreedictionary.com/spire&gt;. I used this website to define “spire.”\r\n\r\n\"Triforium.\" <em>Merriam-Webster</em>. Merriam-Webster, Incorporated, 2011. Web. 9 Mar 2011. &lt;http://www.merriam-webster.com/dictionary/triforium&gt;. I used this website to define “triforium.”\r\n\r\n\"The Wondrous Background and History of Chartres Cathedral.\" <em>Chartres Secrets</em> (2008): n. pag. Web. 9 Mar 2011. &lt;http://en.chartressecrets.org/cathedral/background_history.htm&gt;. This site gave information about Chartres and went into detail about the stained glass, the portals, and other unique features about the cathedral. It helped me elaborate on the history and architecture of the cathedral.','The Chartres Cathedral','','inherit','open','open','','658-revision-7','','','2011-03-09 22:26:13','2011-03-10 04:26:13','',658,'http://jeanatacc.com/2011/?p=688',0,'revision','',0),(689,1,'2011-03-09 21:52:10','2011-03-10 03:52:10','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.\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\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\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=\"300\" 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=\"300\" height=\"214\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_638\" align=\"alignright\" width=\"225\" 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=\"225\" height=\"300\" /></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.  Both the Palatine Chapel and the Germingny-des- Prés were constructed as only part of a 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=\"290\" 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=\"290\" height=\"207\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_645\" align=\"alignleft\" width=\"300\" 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=\"300\" height=\"200\" /></a>[/caption]\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=\"300\" 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=\"300\" height=\"176\" /></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\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','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-18','','','2011-03-09 21:52:10','2011-03-10 03:52:10','',619,'http://jeanatacc.com/2011/?p=689',0,'revision','',0),(690,1,'2011-03-09 21:44:32','2011-03-10 03:44:32','         In the year 526, the cathedral of  San Vitale\'s construction began, as had been ordered by Ecclesius; who was bishop of Ravenna at the time. A man named Julianus Argentarius was the primary benefactor for the building, most historians agree that he was a private banker in Ravenna. In 548, marking the year of the cathedrals completion, archbishop of Ravenna Maximian Most of the important Byzantine structures at the time displayed mosaics on the interior walls, and employed Greco-Roman building styles. Many of the mosaics were centered around depictions of christ, and/or the local clergy.(Knight) The san vitale cathedral is famed as having some of the most beautiful mosaics in ravenna. The men depicted in the mosaics are always shown to be tall, straight figures, devoid of any jollity. The lack of happiness can be explained by the early churches unwillingness to portray religion as a happy experience, or anything related to personal pleasure. In fact, a lot of the art of the time was religiously focused, the church still exercised almost absolute control over the freedoms of the people. The mosaics of the san vitale church, in Ravenna, Italy deserves to be remembered throughout the years, because of the insight they brings us into to the byzantean world at the time.\r\n\r\n         Personally I find the mosaics to be breathtaking works of art,  it took tens of thousands of tiny pieces of glass to complete the works. While beautiful, these pieces really show the priorities of the religious figures at the time, the rigid, unemotional way they portray the men in the mosaics. The churches then focused more on  the dogma and absolute practice of the christian teachings, whereas in present times, the Bible is much more loosely interpreted. The mosaics in this specific cathedral are important because of the perfection and beauty attained by the artist who worked on it, because they had a larger budget than a lot of the other mosaic artists at the time. The creators were able to use actual gold flaked glass pieces and higher quality glass in general, on wider, better constructed interior walls.(Hayes) Many buildings in Ravenna have mosaics in them, all of various quality  and scale, but the ones at San Vitale are considered among the most beautiful.(Knight) The mosaics also included visual instructions for dogmatic actions, such as the depictions of receiving the eucharist, and some of the famous sacrifices in the bible (Abraham, Isaac, etc).\r\n          The mosaics in the San Vitale are almost overshadowed by the “Floating Dome” effect created by the many windows that line the bottom of the domed roof. When looking up during a bright day, an optical illusion is created that makes the supports of the roof seem to vanish. “The best-known building in Ravenna associated with Theodoric, the Ostrogothic king is his own mausoleum - with its dome carved from a single The best-known building in Ravenna associated with Theodoric, the Ostrogothic king, is his own mausoleum - with its dome carved from a single block of stone.”(Knight) Somehow the Byzantine figured out how to carve a dome 124 feet tall and 183 feet wide, out of a single stone, then move it. Many historians  praise the  unknown architects who somehow knew the measurements and ratios necessary to build this innovative structure. An interesting detail is that the artists depicted a juvenile representation of christ, as opposed to the usual practice of depicting jesus as a fully grown man.\r\n      Ravenna was the seat of the Roman Empire in the 5th century and then of Byzantine Italy until the 8th century, so it created an atmosphere of achievement and, trying to see how beautiful and intricate they could make their buildings. There are many mosaics in Ravenna, all from different eras, but the most sophisticated, and famous works were created during the reign of the Byzantines.(Hayes) The people of Ravenna were proud of their beautiful works, as there was almost a “competition” between the different byzantine cities as to who could have the most beautiful, and most praised mosaics. Tremendous support was raised very quickly for the building of the basillica.\r\n\r\n\r\n\r\n        The cathedral would be the inspiration for  its sister basilica San Vitale built in Rome some 300 years later, the building style would be the same, but the mosaics present in the byzantine structures were non-existant. (Hayes) All of the scenes depicted on the walls of the Roman building were scenes of martyrdom, which contrasted with the salvation and holy healing based arts in the San Vitale, Ravenna. The lackluster way in which the Roman temple was remembered versus the way the basilica in Ravenna was remembered shows how much of an  impact the mosaics really had on the building\'s history. The Roman basilica also lacked a nave of the church to house their archbishops, unlike Ravenna\'s which held the sarcophogi of 8 former archbishops. (Knight) The basilica in Ravenna is a recognized UNESCO world heritage site, and is one of eight recognized in Ravenna.\r\n           \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nWorks Cited\r\nHayes, Holly. \"San Vitale Basilica - Ravenna, Italy.\" Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places. Web. 09 Mar. 2011. \r\nKnight, Kevin. \"CATHOLIC ENCYCLOPEDIA: Ravenna.\" NEW ADVENT: Home. Web. 09\r\n','','','inherit','open','open','','646-revision-2','','','2011-03-09 21:44:32','2011-03-10 03:44:32','',646,'http://jeanatacc.com/2011/?p=690',0,'revision','',0),(694,1,'2011-03-10 09:01:41','2011-03-10 15:01:41','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.<!--more-->\r\n\r\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\r\n<p style=\"text-align: center;\">&nbsp;</p>\r\n<p style=\"text-align: center;\">Works Cited</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Guides3/Everyman.html#\">http://www.cummingsstudyguides.net/Guides3/Everyman.html#</a>Setting&gt;</p>\r\n<p style=\"text-align: left;\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;<a href=\"http://www.luminarium.org/medlit/medievaldrama.htm\">http://www.luminarium.org/medlit/medievaldrama.htm</a>&gt;</p>\r\n<p style=\"text-align: left;\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\r\n<p style=\"text-align: left;\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; <a href=\"http://faculty.goucher.edu/eng211/Everyman.html\">http://faculty.goucher.edu/eng211/Everyman.html</a>&gt;</p>\r\n<p style=\"text-align: left;\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;<a href=\"http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm\">http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm</a>&gt;</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>','The Summoning of Everyman','','inherit','open','open','','594-revision-5','','','2011-03-10 09:01:41','2011-03-10 15:01:41','',594,'http://jeanatacc.com/2011/?p=694',0,'revision','',0),(697,1,'2011-02-14 14:22:58','2011-02-14 20:22:58','Lysistrata <!--more-->\r\n\r\nTest','Lysistrata ','','inherit','open','open','','126-revision-3','','','2011-02-14 14:22:58','2011-02-14 20:22:58','',126,'http://jeanatacc.com/2011/?p=697',0,'revision','',0),(700,5,'2011-03-12 15:17:17','2011-03-12 21:17:17','St. Paul’s Outside the Walls is a Roman basilica that was built to be the most revered place of worship in the entire city. At its consecration by Pope Silicious in 395, St. Paul’s became the largest basilica in Rome (The Vatican). It was designed to improve upon the humble structure built by Constantine, consecrated in 324, to honor the tomb of the Apostle Paul. The new basilica was intended to better accommodate the many pilgrims who came to worship at Paul’s tomb. The three emperors who mandated its construction, Theodosius, Valentian II, and Arcadius, insisted that it be larger and more magnificent than the Constantinian basilica (Brandenburg 114). The basilica was called San Paolo fuori le Mura, or St. Paul’s Outside the Walls.<!--more-->\r\n\r\nSt. Paul’s is an awesome structure that employs architectural principals in ways never seen in a basilica before. The work of many artists and designers filled St. Paul’s with mosaics, statues, paintings, and architectural ornamentation. It was a beacon for those who had come to pay their respects, find fellowship, or discover new life through a new religion. This inspiring sanctuary for the faithful should be preserved so it can continue on its mission to the world.\r\n\r\nPrior to building the first structure, Constantine issued the Edict of Milan in 313. Up until this time, Rome had been a pagan empire where Christians had been periodically persecuted and driven underground. Constantine changed all this after having seen a vision of a cross during a military campaign, accompanied by the words “By this sign you shall be victorious.” He then defeated a far larger army and became convinced that he was under the protection of the Christian God. This led him to grant to Christians full freedom of worship, return all confiscated items to the church, and give them funds from the imperial treasury. He also stripped power from the empire’s provincial governors and bestowed it on the local bishops. This was followed by many pagan conversions which created huge congregations who needed a place to gather. Constantine then mandated that Christian churches be built throughout the empire (Brandenburg 16-18).\r\n\r\nMany of these churches took the form of a basilica, or a rectangular hall with rows of columns. In the past, this type of structure had commonly been used for a variety of secular purposes (Fiero). This form may have been chosen to make Christianity feel less foreign to new converts. Most of these churches were rather simple and consisted of only a main hall. Like St. Peter’s before, shown in Image 1, St. Paul’s took a more elaborate form.\r\nImage 1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Diagram1.png\"><img class=\"alignnone size-full wp-image-565\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Diagram1.png\" alt=\"\" width=\"628\" height=\"295\" /></a>\r\n\r\nSource: Gloria K. Fiero; “The Christian Identity”; The Humanistic Tradition Vol. 1 (2011): N. pag.; Web.\r\n\r\nThe unroofed atrium was the main entryway and was flanked by covered walkways called ambulatories. Crossing the narthex led one into the more sacred central hall, or nave. The nave had two aisles on either side to provide more space for worshipers. At the front of the nave was a rectangular chamber known as a transept, beyond which was the apse, the site where communion was received (---.).\r\n\r\nThough completed and consecrated in 395, work on the basilica never really stopped. It was so loved that subsequent popes wanted to restore and add to it with new paintings and mosaics. St. Paul’s was known throughout the empire as a welcoming site for pilgrims and a storehouse of precious artworks (The Vatican). It even attracted the attention of several groups of pirates who took advantage of its location near the Tiber River. This caused Pope John VIII to build a wall around St. Paul’s that led to the founding of a small village, called Johannipolis in honor of their protector (Vicchi 94).\r\n\r\nBut it was more than art that drew the faithful to St. Paul’s. In an innovation it shared with St. Peter’s the tomb of the Apostle lay directly beneath the transept. This offered a unique opportunity to draw strength and pray in his perceived presence. Pilgrims who approached the tomb were greeted by a huge marble slab engraved with the words “Paolo Apostolo Martyri”, or St. Paul the Martyr Apostle, with several holes piercing through to the tomb. Many pilgrims wanted so much to be close to Paul that they would lower strips of linen through these holes to touch his bones, believing that this would confer a healing ability (Runckel).\r\n\r\nThe mere existence of St. Paul’s must have also felt like the final triumph over oppression. After Constantine’s edict of 313 there was one more attempt to revive paganism to the detriment of Christianity. Emperor Julian took power in 360 and began to revoke many of the privileges that Christians had been granted. Fortunately for Christians, Julian ruled for only three years and after his reign Christianity was reestablished as the official Roman religion (Morey). Less than 30 years later, when the doors of St. Paul’s were opened for the first time, its luminous interior must have signified the dawn of a new era of freedom.\r\n\r\nSt. Paul’s continues to play an active role in the Roman church. It houses the annual feast that commemorates the conversion of the Apostle Paul to Christianity. It has also been designated as the site of two significant papal tasks: The Sacrament of Reconciliation, and the planning of ecumenical initiatives (The Vatican). St. Paul’s continues to be viewed as a valued resource for the church as it most likely will for years to come.\r\n\r\nWhen the improved St. Paul’s was conceived, one of the goals was to surpass the other major basilica in town, St. Peter’s (Runckel). Historical records confirm that it succeeded on many levels. It was a larger structure whose proportions were more congruent, creating a more cohesive appearance. The transept and the apse were both deeper allowing greater number of pilgrims to approach the primary places of worship. These components also spanned the width of the nave, creating a more spacious appearance (Brandenburg 115). This openness is one of the most noted characteristics of St. Paul’s and was further supported by the unique style of its other appointments.\r\n\r\nThe columns of the colonnades were more widely spaced creating more unity between nave and aisle. Above these columns was an arcade, or row of arch shaped windows, that allowed light to infuse the nave with its energy. As in St. Peter’s, this space was usually reserved for a row of ornate decoration, or entablature. The aisles of St. Paul’s also had taller windows, which added to the luminous effect (Brandenburg 116).\r\n\r\nThe furnishings of St. Paul’s also showed a significant departure from common practice. St. Peter’s had largely been fitted out with spoils taken from other ancient buildings. By the time of St. Paul’s a decree had been issued to end this practice. As a result, the ornaments of St. Paul’s were constructed of imported Proconnesian marble. The light color and uniformity of this material contributed greatly to the overall luminous effect of St. Paul’s. This also allowed for custom made columns and capitols of exceptional quality. The columns of the nave were fluted in a return to classic form. The capitols, or capstones, of these columns were of a highly ornate Corinthian style. Both were created with the highest standards of craftsmanship and greatly exceeded the standard of the day (Brandenburg 116).\r\n\r\nThough the lavish interior has had to endure the effects of numerous fires and earthquakes efforts have been made to preserve the original feel of the basilica. Many significant artworks have survived in a restored state and are still on display to this day. This includes a series of portraits depicting each pope that runs above the columns of the central and outer colonnades (Vicchi 108). To see the popes in this airy, welcoming space makes them seem more approachable. In the apse is a heavily restored mosaic depicting Christ enthroned along with Peter and Andrew on his left and Paul with Luke the evangelist on Christ’s right side. Placing Paul instead of Peter at Jesus’ right hand signifies his primacy in the basilica that bears his name (Vicchi 110). All hold pieces of inscribed parchment to signify the message that they bring to all humankind. The others are reaching out with their free hands toward Christ, wanting to be near their savior.\r\n\r\nAlso preserved was an elaborate, well rendered mosaic depicting a scene from Revelation. Christ appears in the central portion flanked by two staff bearing angels. To the sides are the 24 elders who cast down their crowns before Christ. Flying overhead are the four creatures, lion, calf, man, and eagle, who ceaselessly praise God day and night (Vicchi 111). The mosaic is exquisitely rendered in form, color, and subject, with one glaring exception: the face of Christ. Elsewhere in St. Paul’s Jesus is depicted with his usual serene, compassionate visage. In this mosaic he appears with the oversized, gaunt features of a caveman. This horrible rendering is a blight on an otherwise beautiful piece of art.\r\n\r\nOther notable works include a series of frescoes placed between the windows of the arcade. These depict scenes from the Apostles life, each including a descriptive caption held aloft by cherubim (Vicchi 103, 108). The basilica also has a group of heavily stylized brass doors which are meant to symbolize the passage into eternal life through Christ. These doors are decorated with a variety of scenes from the lives of Christ and the Apostles. One door in particular, known due to its style as the Byzantine Door, is revered as “…one of the most beautiful doors of its kind in existence…” (Vicchi 101-103).\r\n\r\nSan Paolo fuori le Mura is no longer the largest church in Rome, having been surpassed by St. Peter’s after it was restored in 1626 (The Vatican). But to me, that is less important than the fact that it continues to serve its original purpose of providing a sanctuary for those who want to draw nearer to God. The space is awe inspiring, many of the artworks are stunning and one of a kind, but this is secondary to the basilicas role in bringing the faith of compassion to a violent, pagan world.\r\n\r\nI also find it fitting that the place of veneration of the Apostle to the Gentiles has been designated for the sacrament of reconciliation. Paul took up the difficult task of bringing the message to a foreign people who had no prior knowledge of a messianic tradition. And those who approach St. Paul’s seeking redemption must feel like foreigners trying to gain re-admission to the Promised Land.\r\n\r\nSt. Paul’s Outside the Walls should be remembered as one of the first major sites that was built to welcome weary and dedicated pilgrims. It houses the remains of the Apostle who is probably responsible for more conversions than any other. The light, spacious, art filled interior inspires reverence in a way that is warm and welcoming. Far from being a dreary place of the dead, it should be known that St. Paul’s was created to minister to the needs of the living.\r\n\r\nBrandenburg, Hugo. Ancient Churches of Rome From the Fourth to the Seventh Century. Trans. Andreas Kropp. Turnhout, Belgium: Brepols Publishers N.V., 2005. Print.\r\n\r\nFiero, Gloria K. “The Arts of the Roman Empire.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill Higher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 05 March 2011\r\n\r\n---. “The Christian Identity.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill Higher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 04 March 2011\r\n\r\nMorey, William C. “The Reorganization of the Empire” Outlines of Roman History. By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. Forum Romanum. Web. 04 March. 2011 http://www.forumromanum.org/history/morey28.html\r\n\r\nRunckel, Charles. “S. Paolo fuori le mura (Basilica of St. Paul\'s outside the walls).” Dartmouth Department of Classics. Dartmouth University, 24 Oct. 2005. Web. 04 March 2011.\r\n\r\nThe Vatican. The Papal Basilica Saint Paul Outside the Walls. 04 March 2011. Web. http://www.vatican.edu/various/basiliche/san_paolo/index_en.html\r\n\r\nVicchi, Roberta. The Major Basilicas of Rome. Ed. Patrizia Bevilacqua. Trans. Susan Scott. Antella (Florence): Scala Group S.p.A., 1999. Print.','St. Paul\'s Outside the Walls','','inherit','open','open','','556-revision-19','','','2011-03-12 15:17:17','2011-03-12 21:17:17','',556,'http://jeanatacc.com/2011/?p=700',0,'revision','',0),(698,29,'2011-03-10 08:51:26','2011-03-10 14:51:26','[caption id=\"attachment_679\" align=\"aligncenter\" width=\"285\" caption=\"The &quot;Madonna Enthroned&quot; \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\"><img class=\"size-full wp-image-679\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg\" alt=\"\" width=\"285\" height=\"500\" /></a>[/caption]\r\n\r\nThe \"Madonna Enthroned\" is an altarpiece painting done by one of the most famous Italian painters Cimabue (1240-1302.) Cimabue was a Florentine painter in the second half of the 13th century and the early years of the 14th century. <!--more-->Although none of his paintings are signed and few are still in tact, his activity in the Basilica of S. Francesco in Assisi is documented in 1280/1290. Cimabue studied with some of the Greek Masters in St. Maria Novella and was involved in the Neo-Hellenistic movement of the Paleo Organ Renaissance. His training was not exclusively Byzantine, although he lived and learned during this time period. The \"Madonna Enthroned\" was an altarpiece painted in or around 1285. This piece was the largest in its class of paintings at the time. The \"Madonna Enthroned\" was a forerunner of the Renaissance style paintings. It is said to have an \"otherworldly appearance\" with its network of gold lines on and around the Madonna. The figures in the “Madonna Enthroned” are flat and almost transparent as gold \"swims\" through them (World Book, 583.) This painting was done as an altarpiece using egg tempera on wood and is 12ft 7.5 inches by 7 ft 4 inches . Cimabue was a patriarch of Italian painting, only five or six of his originals are left today. The \"Madonna Enthroned\" was picked to live in the Uffizi Gallery in Florence, Italy. Cimabue\'s religious Frescos are still housed in the Church of Saint Frances in Italy. Cimabue influenced many painters during and after his time period to shift their techniques and follow the trends of the everchanging artistic world. Cimabue used techniques common in the Byzantine tradition while moving towards a Naturalist and Renaissance style. His spatial depth in the “Madonna Enthroned” created a three-demensional effect uncommon during this time period. Cimabue added a dramatic effect to all of his paintings and changed the art world not only in Italy, but worldwide.\r\n\r\nItalian art in the late 13th and 14th centuries differ fundamentally from that  of other countries whose artists usually remained anonymous. In Italy, however, there were numerous Italian painters and sculptors who were known by name to the public and were documented for their works. Each of these artists held a \"body of firmly attributed works\" (Art, 85.) In this time period, Italy was not unified and was made of a large number of states. Italy was more urbanized than many other European countries at the time. Major cities in Europe competed with major cities in Italy with the artistic patronage in Italy. The higher-ups in Italy wanted the churches and local buildings to be bigger and better than the rest of Europe, and wanted them decorated and painted by the BEST artists around. Religion was a major factor of inspiration to all artists during this time. Altarpieces and Frescos dominated the artistic world along with painting and sculptures, usually centered around pulpits and statues of saints. These painting all were housed either inside a church or in a civic building or town hall. The styles of this time period endured for centuries to come. The most popular type of art was made with tempera (wooden panels painted with colors mixed with egg) later called \"egg  tempera.\" The second most popular was called a Fresco, a wall painting that was applied to fresh, damp plaster. Many artist of this time were masters of both of these techniques. Sculpture usually consisted of marble and bronze sometimes gilded with soft layers of gold (this was expensive, so it  wasn\'t near as easy to find.) The people who had money to pay artists for the contributions were the churches. The only documented payment made to Cimabue was for his St. John mosaic in the main apse of the Pisa Cathedral in Italy. Most of Cimabue\'s work was done inside churches throughout Europe. His earliest work was the \"Crucifix\" in S. Domenico, Arrezo painted inside a church.  During this time, art had many influences. The gothic style dominated in Europe. Constantinople was captured by crusaders in 1204 which increased contact between Italian and Byzantine art. Later Byzantine art was \"softened by naturalism and humanity looking forward to the Renaissance\" (Art, 84.)  Cimabue was a master of both egg tempera, frescos and mosaics and his artwork centered around secular subjects adding \"tender humanity\" to each of his pieces (Art, 85.)\r\n\r\nThe \"Madonna Enthroned\" is an example of Medieval art with influences of the Byzantine and Gothic era leading up to the Renaissance style of painting. Some of the most stunning pieces of art from this era is in the form of altarpieces installed in churches in honor of one of the saints or the Virgin Mary (Madonna.)  Typical altarpieces were done on one or more wooden panels  coated in a white chalky plaster or \"gesso\" with tempera, which produced dull, flat colors. The altarpiece was then decorated with gold leaf that would reflect the candles lit in the altar for a more dramatic effect (Fiero, 13.34.) Cimabue\'s altarpiece the \"Madonna Enthroned\" used these techniques. His piece showed a scene of the Madonna and her child elevated on a large seat that is a throne and a tower. Angels are all around her and beneath her feet are four Hebrew prophets holding scrolls. The Madonna is centered in the piece and is significantly larger than the rest of the people in the picture, showing her importance. \"Such hierarchic grading, while typical of Medieval art, also characterized Egyptian and Byzantine compositions\" (Fiero, 13.)  Cimabue\'s devotional altar piece is lavish and elegant. It\'s lines are sharp and the metallic detail on the Virgin\'s dark blue drapery sets off the sharp wings of the angels and the distinct features of Christ and the decorative throne. The Virgin has a little more character in her face than what was usual at the time, but like most Byzantine art- all of the faces of the saints, Christ and angels looking similar. Cimabue used egg tempera on wood because it was stable and durable and the colors remained strong through time. The colors are added to the mixed with the solution and applied to the wood. This solution dries quickly so Cimabue (or any artist) could not mix color on the actual Fresco.\r\n\r\nCimabue was one the most well-recognized painters in all of Italy. Unlike most European countries, artists in Italy were well-recognized, and their work was attributed to the specific artist. Cimabue was asked to work in numerous churches, and he was paid for his artistic talent.  His nickname was \"Ox-Head\" or \"Bull-Head\"  or \"one who crushes view of others\" due to his aggressive personality. He is said to be one of the \"most dramatic artist influenced by contemporary Byzantine Painting\" (World Book, 583.) Today, artist and art lovers hold Cimabue at a very high standard. His artwork put a new style into motion. His students, Giotto and Duccio, who he worked with around 1280, worked together to create new art styles and change the art world around them. Personally, I love the artwork by Cimabue. I chose this topic originally because it is simply stunning. I am never particularly moved by secular pieces of art, but \"The Madonna Enthroned\" has such a genuine feel to it. The colors are beautiful  but muted and I love the use of gold Cimabue puts into his paintings. I like his combination of Classical, Medieval and Byzantine styles of artwork. I love that the faces have no expression, and that his students, like Giotto, really took his ideas and changed them up. He inspired people to create artwork and to combine artistic knowledge with secular knowledge. Giotto took what he learned from Cimabue and created an entirely new, more Renaissance-inspired style of emotion to his pieces. I like that \"The Madonna Enthroned\" as well as many other pieces of Cimabue\'s was used inside churches as decoration to really inspire spiritual connections and faith. This piece of artwork has so much history, and was made so long ago, but still holds such value in today\'s historical and artistic world. During his time working at St. Francis of Assisi, Cimabue employed numerous assistants and major arists with distinct stlyes. Cimabue worked with  Duccio around 1280 to design a window in the Siena Cathedral in central Italy. Cimabue worked on many other pieces during his time, including Cruicifixes made with egg tempera on  a panel that employed Vitruvius’s homo quadratus schemes (where Christ’s head is equal to the width of his arms outstretched).\r\n\r\nGiotto Di Bondone is another famous Florentine painter and architect who lived during Cimabue’s time period, and was said to have been mentored by Cimabue himself. Giotto took Cimabue’s Byzantine traditional style and molded it into his own style, thus leaning towards a naturalist approach. He took flat surface paintings and gave them a three-dimensional look. Giotto used devices that had been forgotten since the Classical Greek world. He added human emotion to his artwork, and told a story with “human pathos and drama” (Art, 84.) Giotto, like Cimabue, was famous throughout Europe and Italy and was sought after by many people. Italian art was never the same after Giotto brought his beautiful Frescos to life. In the “Lamentation of Christ” by Giotto, the Byzantine symbolism of “emotion and suffering” is portrayed in the figures face’s in the painting. Giotto uses composition to bring life to the scene where Christ’s mother and followers mourn his dead body. All of the figures in the scene thrust downward toward Christ and John the Baptists arms lunge backwards to draw attention to the lifeless body. In the background sits a single tree (a medieval symbol of death) and angels fly above the earthbound figures. Each of the figures have unique faces and characteristics. Although all of the people in the picture have a similar griefstruck look, they still have individual emotions. The earthbound figures are still in grief and the angles above them move freely in the sky, maintaining a constant focus on Christ. Unlike Giotto, Cimabue’s figures were lifeless and lacked emotion. Like the Byzantine tradition, all of the faces (Christ, the Virgin, the Saints) all looked almost identical in age and emotion. Giotto set himself apart from Cimabue by leaning towards a humanist/Renaissance approach to emotion and storytelling in his artwork. Cimabue’s paintings, like the “Madonna Enthroned” are touching and meaningful, but the figures in the works lack emotion themselves. Giotto’s artwork is easier to relate to and helps a viewer dive deeper into what the painting is trying to say. Giotto took Cimabue’s techniques and enhanced them in a way that’s easier for a viewer to connect with.\r\n\r\n[caption id=\"attachment_680\" align=\"aligncenter\" width=\"300\" caption=\"&quot;The Lamentation of Christ&quot;\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto.jpg\"><img class=\"size-medium wp-image-680\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto-300x281.jpg\" alt=\"\" width=\"300\" height=\"281\" /></a>[/caption]\r\n\r\nFor future generations it is important to know the Cimabue was one of the first famous artists of his time. His artistic style was so innovative and precise that he made many other artist create new styles, and inspired them to use his techniques. He studied classical Greek artwork, and was trained by  \"The Greek Masters\" at the Saint Maria Novella. Cimabue was a trained artist and worked hard at his hobby. He was paid for his work, and people felt privileged to work with him and view his incredible masterpieces. Cimabue inspired artist like Giotto to further their career and change the artistic world as we know it. Cimabue used the current artistic styles of his time and molded them into his style and created masterpieces. His art was a forerunner to Renaissance style art and was one of the first in his time to step outside the box and go against the grain, which ultimately made him stand out and live on as a legacy in the artistic world.\r\n\r\nWorks Cited\r\n\r\nArt: 2,500 Works, Cave to Contemporary. DK Publishing, New York 2008. Pg 85. Print.\r\n\r\nEnclyclopedia of World Art Vol  III. Calder- Cosmology. Mcgraw- Hill Book,  London. 1960. Pg 614-619. Print.\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nMatthews, Thomas F. “Byzantium: From Antiquity to the Renaissance.” Calman &amp; King Ltd, New York, 1998. Print.\r\n\r\nTurner, Jane. Dictionary of Art. Vol  7.  China V III to Cassa. 1996, Macmillian publishing, NY. Pg 315-318.  Print.\r\n\r\nWorld Book. Vol 4. Edition Ci-Cz. Chicago, 1999. Pg 553. Print','The Madonna Enthroned: Cimabue','','inherit','open','open','','677-revision-3','','','2011-03-10 08:51:26','2011-03-10 14:51:26','',677,'http://jeanatacc.com/2011/?p=698',0,'revision','',0),(699,5,'2011-03-09 14:32:33','2011-03-09 20:32:33','St. Paul’s Outside the Walls is a Roman basilica that was built to be the most revered place of worship in the entire city. At its consecration by Pope Silicious in 395, St. Paul’s became the largest basilica in Rome (The Vatican). It was designed to improve upon the humble structure built by Constantine, consecrated in 324, to honor the tomb of the Apostle Paul. The new basilica was intended to better accommodate the many pilgrims who came to worship at Paul’s tomb. The three emperors who mandated its construction, Theodosius, Valentian II, and Arcadius, insisted that it be larger and more magnificent than the Constantinian basilica (Brandenburg 114). The basilica was called San Paolo fuori le Mura, or St. Paul’s Outside the Walls.<!--more-->\r\n\r\nSt. Paul’s is an awesome structure that employs architectural principals in ways never seen in a basilica before. The work of many artists and designers filled St. Paul’s with mosaics, statues, paintings, and architectural ornamentation. It was a beacon for those who had come to pay their respects, find fellowship, or discover new life through a new religion. This inspiring sanctuary for the faithful should be preserved so it can continue on its mission to the world.\r\n\r\nPrior to building the first structure, Constantine issued the Edict of Milan in 313. Up until this time, Rome had been a pagan empire where Christians had been periodically persecuted and driven underground. Constantine changed all this after having seen a vision of a cross during a military campaign, accompanied by the words “By this sign you shall be victorious.” He then defeated a far larger army and became convinced that he was under the protection of the Christian God. This led him to grant to Christians full freedom of worship, return all confiscated items to the church, and give them funds from the imperial treasury. He also stripped power from the empire’s provincial governors and bestowed it on the local bishops. This was followed by many pagan conversions which created huge congregations who needed a place to gather. Constantine then mandated that Christian churches be built throughout the empire (Brandenburg 16-18).\r\n\r\nMany of these churches took the form of a basilica, or a rectangular hall with rows of columns. In the past, this type of structure had commonly been used for a variety of secular purposes (Fiero). This form may have been chosen to make Christianity feel less foreign to new converts. Most of these churches were rather simple and consisted of only a main hall. Like St. Peter’s before, shown in Image 1, St. Paul’s took a more elaborate form.\r\nImage 1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Diagram1.png\"><img class=\"alignnone size-full wp-image-565\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Diagram1.png\" alt=\"\" width=\"628\" height=\"295\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The Christian Identity”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nThe unroofed atrium was the main entryway and was flanked by covered walkways called ambulatories. Crossing the narthex led one into the more sacred central hall, or nave. The nave had two aisles on either side to provide more space for worshipers. At the front of the nave was a rectangular chamber known as a transept, beyond which was the apse, the site where communion was received (---.).\r\n\r\nThough completed and consecrated in 395, work on the basilica never really stopped. It was so loved that subsequent popes wanted to restore and add to it with new paintings and mosaics. St. Paul’s was known throughout the empire as a welcoming site for pilgrims and a storehouse of precious artworks (The Vatican). It even attracted the attention of several groups of pirates who took advantage of its location near the Tiber River. This caused Pope John VIII to build a wall around St. Paul’s that led to the founding of a small village, called Johannipolis in honor of their protector (Vicchi 94).\r\n\r\nBut it was more than art that drew the faithful to St. Paul’s. In an innovation it shared with St. Peter’s the tomb of the Apostle lay directly beneath the transept. This offered a unique opportunity to draw strength and pray in his perceived presence. Pilgrims who approached the tomb were greeted by a huge marble slab engraved with the words “Paolo Apostolo Martyri”, or St. Paul the Martyr Apostle, with several holes piercing through to the tomb. Many pilgrims wanted so much to be close to Paul that they would lower strips of linen through these holes to touch his bones, believing that this would confer a healing ability (Runckel).\r\n\r\nThe mere existence of St. Paul’s must have also felt like the final triumph over oppression. After Constantine’s edict of 313 there was one more attempt to revive paganism to the detriment of Christianity. Emperor Julian took power in 360 and began to revoke many of the privileges that Christians had been granted. Fortunately for Christians, Julian ruled for only three years and after his reign Christianity was reestablished as the official Roman religion (Morey). Less than 30 years later, when the doors of St. Paul’s were opened for the first time, its luminous interior must have signified the dawn of a new era of freedom.\r\n\r\nSt. Paul’s continues to play an active role in the Roman church. It houses the annual feast that commemorates the conversion of the Apostle Paul to Christianity. It has also been designated as the site of two significant papal tasks: The Sacrament of Reconciliation, and the planning of ecumenical initiatives (The Vatican). St. Paul’s continues to be viewed as a valued resource for the church as it most likely will for years to come.\r\n\r\nWhen the improved St. Paul’s was conceived, one of the goals was to surpass the other major basilica in town, St. Peter’s (Runckel). Historical records confirm that it succeeded on many levels. It was a larger structure whose proportions were more congruent, creating a more cohesive appearance. The transept and the apse were both deeper allowing greater number of pilgrims to approach the primary places of worship. These components also spanned the width of the nave, creating a more spacious appearance (Brandenburg 115). This openness is one of the most noted characteristics of St. Paul’s and was further supported by the unique style of its other appointments.\r\n\r\nThe columns of the colonnades were more widely spaced creating more unity between nave and aisle. Above these columns was an arcade, or row of arch shaped windows, that allowed light to infuse the nave with its energy. As in St. Peter’s, this space was usually reserved for a row of ornate decoration, or entablature. The aisles of St. Paul’s also had taller windows, which added to the luminous effect (Brandenburg 116).\r\n\r\nThe furnishings of St. Paul’s also showed a significant departure from common practice. St. Peter’s had largely been fitted out with spoils taken from other ancient buildings. By the time of St. Paul’s a decree had been issued to end this practice. As a result, the ornaments of St. Paul’s were constructed of imported Proconnesian marble. The light color and uniformity of this material contributed greatly to the overall luminous effect of St. Paul’s. This also allowed for custom made columns and capitols of exceptional quality. The columns of the nave were fluted in a return to classic form. The capitols, or capstones, of these columns were of a highly ornate Corinthian style. Both were created with the highest standards of craftsmanship and greatly exceeded the standard of the day (Brandenburg 116).\r\n\r\nThough the lavish interior has had to endure the effects of numerous fires and earthquakes efforts have been made to preserve the original feel of the basilica. Many significant artworks have survived in a restored state and are still on display to this day. This includes a series of portraits depicting each pope that runs above the columns of the central and outer colonnades (Vicchi 108). To see the popes in this airy, welcoming space makes them seem more approachable. In the apse is a heavily restored mosaic depicting Christ enthroned along with Peter and Andrew on his left and Paul with Luke the evangelist on Christ’s right side. Placing Paul instead of Peter at Jesus’ right hand signifies his primacy in the basilica that bears his name (Vicchi 110). All hold pieces of inscribed parchment to signify the message that they bring to all humankind. The others are reaching out with their free hands toward Christ, wanting to be near their savior.\r\n\r\nAlso preserved was an elaborate, well rendered mosaic depicting a scene from Revelation. Christ appears in the central portion flanked by two staff bearing angels. To the sides are the 24 elders who cast down their crowns before Christ. Flying overhead are the four creatures, lion, calf, man, and eagle, who ceaselessly praise God day and night (Vicchi 111). The mosaic is exquisitely rendered in form, color, and subject, with one glaring exception: the face of Christ. Elsewhere in St. Paul’s Jesus is depicted with his usual serene, compassionate visage. In this mosaic he appears with the oversized, gaunt features of a caveman. This horrible rendering is a blight on an otherwise beautiful piece of art.\r\n\r\nOther notable works include a series of frescoes placed between the windows of the arcade. These depict scenes from the Apostles life, each including a descriptive caption held aloft by cherubim (Vicchi 103, 108). The basilica also has a group of heavily stylized brass doors which are meant to symbolize the passage into eternal life through Christ. These doors are decorated with a variety of scenes from the lives of Christ and the Apostles. One door in particular, known due to its style as the Byzantine Door, is revered as “…one of the most beautiful doors of its kind in existence…” (Vicchi 101-103).\r\n\r\nSan Paolo fuori le Mura is no longer the largest church in Rome, having been surpassed by St. Peter’s after it was restored in 1626 (The Vatican). But to me, that is less important than the fact that it continues to serve its original purpose of providing a sanctuary for those who want to draw nearer to God. The space is awe inspiring, many of the artworks are stunning and one of a kind, but this is secondary to the basilicas role in bringing the faith of compassion to a violent, pagan world.\r\n\r\nI also find it fitting that the place of veneration of the Apostle to the Gentiles has been designated for the sacrament of reconciliation. Paul took up the difficult task of bringing the message to a foreign people who had no prior knowledge of a messianic tradition. And those who approach St. Paul’s seeking redemption must feel like foreigners trying to gain re-admission to the Promised Land.\r\n\r\nSt. Paul’s Outside the Walls should be remembered as one of the first major sites that was built to welcome weary and dedicated pilgrims. It houses the remains of the Apostle who is probably responsible for more conversions than any other. The light, spacious, art filled interior inspires reverence in a way that is warm and welcoming. Far from being a dreary place of the dead, it should be known that St, Paul’s was created to minister to the needs of the living.\r\n\r\n&nbsp;\r\n\r\nBrandenburg, Hugo. Ancient Churches of Rome From the Fourth to the Seventh Century. Trans. Andreas Kropp. Turnhout, Belgium: Brepols Publishers N.V., 2005. Print.\r\n\r\nFiero, Gloria K. “The Arts of the Roman Empire.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill Higher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 05 March 2011\r\n\r\n---. “The Christian Identity.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill Higher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 04 March 2011\r\n\r\nMorey, William C. “The Reorganization of the Empire” Outlines of Roman History. By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. Forum Romanum. Web. 04 March. 2011 http://www.forumromanum.org/history/morey28.html\r\n\r\nRunckel, Charles. “S. Paolo fuori le mura (Basilica of St. Paul\'s outside the walls).” Dartmouth Department of Classics. Dartmouth University, 24 Oct. 2005. Web. 04 March 2011.\r\n\r\nThe Vatican. The Papal Basilica Saint Paul Outside the Walls. 04 March 2011. Web. http://www.vatican.edu/various/basiliche/san_paolo/index_en.html\r\n\r\nVicchi, Roberta. The Major Basilicas of Rome. Ed. Patrizia Bevilacqua. Trans. Susan Scott. Antella (Florence): Scala Group S.p.A., 1999. Print.','St. Paul\'s Outside the Walls','','inherit','open','open','','556-revision-18','','','2011-03-09 14:32:33','2011-03-09 20:32:33','',556,'http://jeanatacc.com/2011/?p=699',0,'revision','',0),(701,7,'2011-03-13 10:42:55','2011-03-13 16:42:55','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-autosave','','','2011-03-13 10:42:55','2011-03-13 16:42:55','',619,'http://jeanatacc.com/2011/?p=701',0,'revision','',0),(703,7,'2011-03-13 10:37:37','2011-03-13 16:37:37','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=\"237\" 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=\"237\" height=\"180\" /></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<!--[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]--><a href=\"http://www.funkystock.eu/Stock-Pictures-Photos-Images-Italy.html\"><!--[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> </span></a><a href=\"http://ookaboo.com/o/pictures/topic/59470/GermignydesPr%C3%A9s\"></a>\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 style=\"font-size: 8pt\">\r\n</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\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-20','','','2011-03-13 10:37:37','2011-03-13 16:37:37','',619,'http://jeanatacc.com/2011/?p=703',0,'revision','',0),(702,7,'2011-03-10 08:57:52','2011-03-10 14:57:52','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\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\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=\"300\" 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=\"300\" height=\"214\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_638\" align=\"alignright\" width=\"225\" 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=\"225\" height=\"300\" /></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.  Both the Palatine Chapel and the Germingny-des- Prés were constructed as only part of a 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=\"290\" 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=\"290\" height=\"207\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_645\" align=\"alignleft\" width=\"300\" 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=\"300\" height=\"200\" /></a>[/caption]\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=\"300\" 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=\"300\" height=\"176\" /></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\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','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-19','','','2011-03-10 08:57:52','2011-03-10 14:57:52','',619,'http://jeanatacc.com/2011/?p=702',0,'revision','',0),(704,7,'2011-03-13 10:42:49','2011-03-13 16:42:49','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-21','','','2011-03-13 10:42:49','2011-03-13 16:42:49','',619,'http://jeanatacc.com/2011/?p=704',0,'revision','',0),(705,7,'2011-03-13 10:43:23','2011-03-13 16:43:23','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-22','','','2011-03-13 10:43:23','2011-03-13 16:43:23','',619,'http://jeanatacc.com/2011/?p=705',0,'revision','',0),(706,1,'2011-02-21 14:36:46','2011-02-21 20:36:46','<p style=\"text-align: left\">Rich Martinez\r\nProfessor Lauer\r\nHumanities I 1301\r\nFebruary 21, 2011</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.\r\n\r\n<!--more-->Wealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','inherit','open','open','','379-revision-13','','','2011-02-21 14:36:46','2011-02-21 20:36:46','',379,'http://jeanatacc.com/2011/?p=706',0,'revision','',0),(973,9,'2011-04-11 13:07:53','2011-04-11 19:07:53','<p style=\"text-align: left\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\n<p style=\"text-align: left\">Donatello contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude <a id=\"ref28430\" rel=\"nofollow\" name=\"ref28430\"></a>putti, or child angels (one of which was stolen and is now in the Berlin museum). These putti, evidently influenced by Etruscan bronze figurines, prepared the way for the bronze <a id=\"ref28431\" rel=\"nofollow\" name=\"ref28431\"></a>David, the first large-scale, free-standing nude statue of the Renaissance. Well-proportioned and superbly poised, it was conceived independently of any architectural setting. Its harmonious calm makes it the most classical of Donatello’s works. The statue was undoubtedly done for a private patron, but his identity is in doubt. Its recorded history begins with the wedding of Lorenzo the Magnificent in 1469, when it occupied the centre of the courtyard of the Medici palace in Florence. After the expulsion of the <a id=\"ref28432\" rel=\"nofollow\" name=\"ref28432\"></a>Medici in 1496, the statue was placed in the courtyard of the PalazzoVecchio.</p>\r\n\r\n<div style=\"text-align: left\">Whether the “David” was commissioned by the Medici or not, Donatello worked for them (1433–43), producing sculptural decoration for the old sacristy in San Lorenzo, the Medici church. Works there included 10 large reliefs in coloured stucco and two sets of small bronze doors, which showed paired saints and apostles disputing with each other in vivid and even violent fashion.</div>\r\n<div style=\"text-align: left\">\r\n\r\nIt was in Italy that the artistic values we associate with the Renaissance first began to appear. These values included a new emphasis on naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces. During the fourteenth and early fifteenth centuries artists in Northern Italy, particularly in Tuscany, devoted themselves to problems of perspective. Eventually, they mastered techniques that allowed them to reproduce spaces that appeared to have real depth on two-dimensional surfaces. This innovation was known as linear perspective.  Another vital feature of the Renaissance in the visual arts was a renewed attention to the style and conventions of ancient art. As the homeland of the ancient Roman Empire in Western Europe, Italy possessed many venerable ancient monuments, and traditions of classicizing art and architecture had persisted in the region during the Middle Ages. Fifteenth-century artists, however, began to study more systematically and rigorously the works of classical Antiquity, and they self-consciously tried to revive its harmonious and balanced proportions. Renaissance painters may never have been wedded to classical styles and idioms to the same degree as humanists and literary figures, but the example of antique painting and sculpture provided potent examples of a human-centered art that shaped their stylistic values. As in many other areas of Renaissance cultural achievement, it was Florence that served as the incubator for many of these innovations.\r\n\r\nRenaissance art, however, was not created for an open market, but for wealthy and powerful patrons and religious institutions that commissioned it.  Patrons relied upon painting and sculpture to express political ideals, to indulge their tastes for fine craftsmanship, and to immortalize themselves and their families. The deepening piety of the era, too, stimulated the production of much religious art.\r\n\r\nIn a world of widespread illiteracy, images took on a special importance. For the illiterate, religious images served as a vital textbook that instructed in the teachings and history of Christianity and the church. For both the learned and unlearned, images conveyed political and religious ideas, and were often tools of propaganda. To express these political positions or religious truths, artists relied upon iconography—a system of symbols that conveyed certain commonly accepted meanings. During the Renaissance the language of iconography expanded greatly, in large part because of the revival of knowledge about ancient religions, philosophy, and mythology. Iconography became an increasingly complex way of communicating meaning, since artists could employ symbols drawn from Christian, Roman, and Greek past as well as from other more obscure traditions.\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  <em>University of Colorado, Boulder.</em> Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to compare and contrast the two David sculptures.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-8','','','2011-04-11 13:07:53','2011-04-11 19:07:53','',805,'http://jeanatacc.com/2011/?p=973',0,'revision','',0),(707,17,'2011-02-21 00:17:17','2011-02-21 06:17:17','The Pantheon is a Roman temple built in 27 B.C.E. It is a rectangular temple with a huge concrete dome and portic<!--more-->o.  Located in Rome, it was saved from sacking and burning during the crusades when  , it was converted into a Catholic church.  .  The Greeks worshipped many gods and the Pantheon meaning “All the Gods” was meant as a place where they could all be worshipped at once.  It is the world’s second largest dome to this day.\r\n\r\nThe Pantheon is typical of its era in that it was meant as a place of worship for the gods.  Just as churches are common in Texas, temples were easy to find in ancient Rome.  The dome had been in existence for a while before the Pantheon was built, small domed structures were common.  The roman people worshipped many gods and temples were pretty common back then.  The materials and style of the pantheon are also typical of this time period.  The building materials, bricks and limestone, were plentiful in that area and most buildings were made of the same materials.  The pillars are designed in the Corinthian style.  Characterized by various features including a capital resembling leavesand entasis, a widening of the pillar near the middle, to counter the look of concavity that straight pillars have.  This is another aspect of Corinthian style, which makes the columns appear straight.\r\n\r\nThe Pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome, mixed with pumice it was lighter.  The pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome.  It was mixed with pumice, which lightened the load on the structure and kept the dome from collapsing.  This allowed it to be built higher and wider than any preceding dome. The fact that the Pantheon still exists is another unique aspect about it.  Rome has suffered through fires and pillaging which destroyed many of its buildings.  The Pantheon has burned down before, but was rebuilt.  While many of the materials used in the Pantheon were readily available in the area, those used to build the pillars were not.  They were quarried in Egypt where they waited until spring for the Nile river to flood its banks so they could by floated to the Mediterranean.  Once there they were loaded onto ships and had to be pulled up 40 miles or river before they were then dragged on land to their final resting place.  Normally lengths this great wouldn’t be taken to build a temple but the Pantheon’s grand size meant it received the best materials.  Marcus Agrippas wanted Romans to be able to worship straight to the heavens while they were in the Pantheon.  This is why there is a hole, or oculus, in the ceiling.  Like Cowboys stadium, it was unique in this aspect.  When it would only cost a little more to keep out the elements few roman buildings featured a hole in the ceiling and roof.\r\n\r\nThe Pantheon was well received in its time because nearly everyone believed in the polytheistic religion it was built for.  Also, it was thought that the gods would be pleased with such a structure built in their honor.  Nationalism was another reason to have pride in such a large structure.  It flaunted the wealth and might of the Roman Empire.  A lot of money collected in taxes funded the project which may have upset some who didn’t see the need for such excessive displays of wealth, but when foreigners came to Rome they visited its greatest monuments and the Pantheon was undoubtedly one of them.   Another reason the Pantheon would have been more impressive at the time is because its ceilings were once entirely covered in Bronze.  The precious metal was eventually removed for use in the altar of St. Peter’s and several other works.  As I mentioned earlier, the concept of the dome was not at all new, but this one was just so much bigger than any before it that people were awe struck when they saw it for the first time.  It was a fitting shrine to the gods they worshipped.\r\n\r\nTo this day people are still amazed by the Pantheon.  It is the best preserved roman monument in the world “thanks to its conversion to a church in 609 when the Byzantine emperor Pholas presented it to Pope Boniface VI as a gift” (“Sights”). Like the Egyptian pyramids; it’s fantastic to think that humans created the building without the aid of machinery.  The advances in technology at the time which allowed for the dome to tower to such a height are now commonplace and knowing that the dome was one of the first structures to implement these technologies make it that much more fascinating to us today.  Nowadays we are used to huge buildings being completed in about a year but the great lengths the Romans went to in order to construct this gigantic structure would be  considered excessive nowadays.  For example, the pillars on the portico took many months to transfer from Egypt.  We wouldn’t stand for a wait this long for pillars in the present.  In today’s world, where we can build a structure comparable to the Pantheon in just a few months, we don’t value buildings like the romans did.  For this reason, as much as people are impressed by the Pantheon, I don’t think they admire it anywhere as much as ancient Romans would have upon its completion.  Despite this, the Pantheon has accumulated an interesting history over its nearly 2000 years of existence.  For example, it is the first temple in Rome to be Christianised.  In 609 A.D. the Byzantine emperor Pholas gave it to Pope Boniface VI who then converted it into a church.  According to legend, he had 28 wagonloads of martyrs bones transferred from the Roman catacombs and had them buried beneath the altar.\r\n\r\nI’ve seen the pantheon first hand and I was more than impressed.  Knowing how old the building is and that it was built almost entirely by hand are just a couple of reasons to be impressed by it.  It’s huge even by today’s standards and the style is completely different from that of today’s buildings.  For example, there is no glass.  A lack of metal and windows on the exterior of the building help to distinguish it from modern day architecture.  It doesn’t look anything like what we often perceive as a normal structure.  Today’s buildings are typically square or rectangular, with right angles where walls meet.  The pantheon is round so the dome can sit atop the walls.  When I visited the pantheon, we came approached it from the rear so it appeared as just a huge circular wall. (We were too close to see the massive dome sitting on top) Upon entering, the only light coming in when I visited came through the small opening in the top of the dome and some unobtrusive lighting that was installed within the last twenty or thirty years.  The combination of a huge ceiling, a small amount of natural lighting, and the lack of carpet or other materials which might deaden echoes combined to make the Pantheon seem even larger and older, unlike any building I’ve entered in the states.\r\n\r\nDuring my trip to Europe I visited a lot of famous buildings that were older than anything still in existence in here in the United States.  There were a few roman buildings that hadn’t been destroyed during the crusades but they were all fairly small.  The Pantheon is similar to many buildings of its time because it is made of the same materials and shares various decorative features.   Take the Parthenon for example.  A large publicly funded build, it shares pillars built in the Corinthian style.  However, it does not have a dome, and it was built to honor only one god, Athena Parthenos.    Large buildings existed almost exclusively in this time to serve the roman government in some way.  Private businesses that could fund such works didn’t exist like they do today and it’s a guarantee that any large buildings still in existence were government owned.  The Parthenon and Pantheon are no exception.\r\n\r\nI think that what future generations should know about the Pantheon is the effect it gives when one is inside.  We are used to buildings which are flooded with light thanks to windows and electricity.   The opportunity to step into a naturally lit building as old as the Pantheon will come less and less often to future generations as old buildings fall apart and disappear.  Another aspect of the Pantheon we don’t experience often is the effect of huge arched ceilings.  Today’s buildings almost always implement the kind of space in the dome of the pantheon for more floors but the dome is open in the Pantheon.  The average American ceiling is probably around 12 feet tall and not worth looking at.  However the Pantheon draws attention to its cavernous ceiling with coffers sunk into the curved ceiling of the massive dome.  It’s a new experience that you can only get from visiting old buildings.  Future generations should also be aware of the history of the Pantheon because it has been a focal point of attention for almost two thousand years.  It has stood as a symbol of power and religion during this time so naturally people have wanted it in order to celebrate their religion within its walls.  It’s an old building that offers a new experience and a rich history.  As we get older, these monuments do too and they also become rarer.  It’s important that future generations get to experience them firsthand.\r\n\r\nSchulman, Bruce. \"Classical Orders of Architecture.\"\r\n\r\nhttp://www.cmhpf.org/kids/dictionary/classicalorders.html. Charlotte-Mecklenburg Historic Landmarks Commission, 011310. Web. 13 Feb 2011. &lt;http://www.cmhpf.org/kids/dictionary/classicalorders.html&gt;.\r\n\r\nDutemple, Lesley. “The Pantheon”. 1st. Minneapolis: Lerner Publishing Group, 2003. Print.\r\n\r\nMacDonald, William. The Pantheon: Design, Meaning, and Progeny. 2nd. Cambridge: Harvard University\r\n\r\nPress, 1976. Print.\r\n\r\nSteven W. Semes. “Pantheon Inside” ArchitectureWeek No. 254, 2005.0831, pC1.1.\r\n\r\nSemes, Steven. \"Pantheon Inside.\" Architecture Week February 2004: n. pag. Web. 13 Feb 2011.                 &lt;http://www.architectureweek.com/2005/0831/culture_1-1.html&gt;.\r\n\r\n\"Sights.\" Pantheon. 4th. New York: Random House, 2010. Print.','The Pantheon','','inherit','open','open','','373-revision-v1','','','2011-02-21 00:17:17','2011-02-21 06:17:17','',373,'http://jeanatacc.com/2011/?p=707',0,'revision','',0),(708,1,'2011-03-13 23:08:14','2011-03-14 05:08:14','The Pantheon is a Roman temple built in 27 B.C.E. It is a rectangular temple with a huge concrete dome and portic<!--more-->o.  Located in Rome, it was saved from sacking and burning during the crusades when  , it was converted into a Catholic church.  .  The Greeks worshipped many gods and the Pantheon meaning “All the Gods” was meant as a place where they could all be worshipped at once.  It is the world’s second largest dome to this day.\r\n\r\nThe Pantheon is typical of its era in that it was meant as a place of worship for the gods.  Just as churches are common in Texas, temples were easy to find in ancient Rome.  The dome had been in existence for a while before the Pantheon was built, small domed structures were common.  The roman people worshipped many gods and temples were pretty common back then.  The materials and style of the pantheon are also typical of this time period.  The building materials, bricks and limestone, were plentiful in that area and most buildings were made of the same materials.  The pillars are designed in the Corinthian style.  Characterized by various features including a capital resembling leavesand entasis, a widening of the pillar near the middle, to counter the look of concavity that straight pillars have.  This is another aspect of Corinthian style, which makes the columns appear straight.\r\n\r\nThe Pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome, mixed with pumice it was lighter.  The pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome.  It was mixed with pumice, which lightened the load on the structure and kept the dome from collapsing.  This allowed it to be built higher and wider than any preceding dome. The fact that the Pantheon still exists is another unique aspect about it.  Rome has suffered through fires and pillaging which destroyed many of its buildings.  The Pantheon has burned down before, but was rebuilt.  While many of the materials used in the Pantheon were readily available in the area, those used to build the pillars were not.  They were quarried in Egypt where they waited until spring for the Nile river to flood its banks so they could by floated to the Mediterranean.  Once there they were loaded onto ships and had to be pulled up 40 miles or river before they were then dragged on land to their final resting place.  Normally lengths this great wouldn’t be taken to build a temple but the Pantheon’s grand size meant it received the best materials.  Marcus Agrippas wanted Romans to be able to worship straight to the heavens while they were in the Pantheon.  This is why there is a hole, or oculus, in the ceiling.  Like Cowboys stadium, it was unique in this aspect.  When it would only cost a little more to keep out the elements few roman buildings featured a hole in the ceiling and roof.\r\n\r\nThe Pantheon was well received in its time because nearly everyone believed in the polytheistic religion it was built for.  Also, it was thought that the gods would be pleased with such a structure built in their honor.  Nationalism was another reason to have pride in such a large structure.  It flaunted the wealth and might of the Roman Empire.  A lot of money collected in taxes funded the project which may have upset some who didn’t see the need for such excessive displays of wealth, but when foreigners came to Rome they visited its greatest monuments and the Pantheon was undoubtedly one of them.   Another reason the Pantheon would have been more impressive at the time is because its ceilings were once entirely covered in Bronze.  The precious metal was eventually removed for use in the altar of St. Peter’s and several other works.  As I mentioned earlier, the concept of the dome was not at all new, but this one was just so much bigger than any before it that people were awe struck when they saw it for the first time.  It was a fitting shrine to the gods they worshipped.\r\n\r\nTo this day people are still amazed by the Pantheon.  It is the best preserved roman monument in the world “thanks to its conversion to a church in 609 when the Byzantine emperor Pholas presented it to Pope Boniface VI as a gift” (“Sights”). Like the Egyptian pyramids; it’s fantastic to think that humans created the building without the aid of machinery.  The advances in technology at the time which allowed for the dome to tower to such a height are now commonplace and knowing that the dome was one of the first structures to implement these technologies make it that much more fascinating to us today.  Nowadays we are used to huge buildings being completed in about a year but the great lengths the Romans went to in order to construct this gigantic structure would be  considered excessive nowadays.  For example, the pillars on the portico took many months to transfer from Egypt.  We wouldn’t stand for a wait this long for pillars in the present.  In today’s world, where we can build a structure comparable to the Pantheon in just a few months, we don’t value buildings like the romans did.  For this reason, as much as people are impressed by the Pantheon, I don’t think they admire it anywhere as much as ancient Romans would have upon its completion.  Despite this, the Pantheon has accumulated an interesting history over its nearly 2000 years of existence.  For example, it is the first temple in Rome to be Christianised.  In 609 A.D. the Byzantine emperor Pholas gave it to Pope Boniface VI who then converted it into a church.  According to legend, he had 28 wagonloads of martyrs bones transferred from the Roman catacombs and had them buried beneath the altar.\r\n\r\nI’ve seen the pantheon first hand and I was more than impressed.  Knowing how old the building is and that it was built almost entirely by hand are just a couple of reasons to be impressed by it.  It’s huge even by today’s standards and the style is completely different from that of today’s buildings.  For example, there is no glass.  A lack of metal and windows on the exterior of the building help to distinguish it from modern day architecture.  It doesn’t look anything like what we often perceive as a normal structure.  Today’s buildings are typically square or rectangular, with right angles where walls meet.  The pantheon is round so the dome can sit atop the walls.  When I visited the pantheon, we came approached it from the rear so it appeared as just a huge circular wall. (We were too close to see the massive dome sitting on top) Upon entering, the only light coming in when I visited came through the small opening in the top of the dome and some unobtrusive lighting that was installed within the last twenty or thirty years.  The combination of a huge ceiling, a small amount of natural lighting, and the lack of carpet or other materials which might deaden echoes combined to make the Pantheon seem even larger and older, unlike any building I’ve entered in the states.\r\n\r\nDuring my trip to Europe I visited a lot of famous buildings that were older than anything still in existence in here in the United States.  There were a few roman buildings that hadn’t been destroyed during the crusades but they were all fairly small.  The Pantheon is similar to many buildings of its time because it is made of the same materials and shares various decorative features.   Take the Parthenon for example.  A large publicly funded build, it shares pillars built in the Corinthian style.  However, it does not have a dome, and it was built to honor only one god, Athena Parthenos.    Large buildings existed almost exclusively in this time to serve the roman government in some way.  Private businesses that could fund such works didn’t exist like they do today and it’s a guarantee that any large buildings still in existence were government owned.  The Parthenon and Pantheon are no exception.\r\n\r\nI think that what future generations should know about the Pantheon is the effect it gives when one is inside.  We are used to buildings which are flooded with light thanks to windows and electricity.   The opportunity to step into a naturally lit building as old as the Pantheon will come less and less often to future generations as old buildings fall apart and disappear.  Another aspect of the Pantheon we don’t experience often is the effect of huge arched ceilings.  Today’s buildings almost always implement the kind of space in the dome of the pantheon for more floors but the dome is open in the Pantheon.  The average American ceiling is probably around 12 feet tall and not worth looking at.  However the Pantheon draws attention to its cavernous ceiling with coffers sunk into the curved ceiling of the massive dome.  It’s a new experience that you can only get from visiting old buildings.  Future generations should also be aware of the history of the Pantheon because it has been a focal point of attention for almost two thousand years.  It has stood as a symbol of power and religion during this time so naturally people have wanted it in order to celebrate their religion within its walls.  It’s an old building that offers a new experience and a rich history.  As we get older, these monuments do too and they also become rarer.  It’s important that future generations get to experience them firsthand.\r\n\r\nSchulman, Bruce. \"Classical Orders of Architecture.\"\r\n\r\nhttp://www.cmhpf.org/kids/dictionary/classicalorders.html. Charlotte-Mecklenburg Historic Landmarks Commission, 011310. Web. 13 Feb 2011. &lt;http://www.cmhpf.org/kids/dictionary/classicalorders.html&gt;.\r\n\r\nDutemple, Lesley. “The Pantheon”. 1st. Minneapolis: Lerner Publishing Group, 2003. Print.\r\n\r\nMacDonald, William. The Pantheon: Design, Meaning, and Progeny. 2nd. Cambridge: Harvard University\r\n\r\nPress, 1976. Print.\r\n\r\nSteven W. Semes. “Pantheon Inside” ArchitectureWeek No. 254, 2005.0831, pC1.1.\r\n\r\nSemes, Steven. \"Pantheon Inside.\" Architecture Week February 2004: n. pag. Web. 13 Feb 2011.                 &lt;http://www.architectureweek.com/2005/0831/culture_1-1.html&gt;.\r\n\r\n\"Sights.\" Pantheon. 4th. New York: Random House, 2010. Print.','The Pantheon','','inherit','open','open','','373-revision-v1','','','2011-03-13 23:08:14','2011-03-14 05:08:14','',373,'http://jeanatacc.com/2011/?p=708',0,'revision','',0),(716,37,'2011-03-20 20:45:32','2011-03-21 02:45:32','','20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale','','inherit','open','open','','20080614_16_36_12_italy_ravenna_basilica_of_san_vitale','','','2011-03-20 20:45:32','2011-03-21 02:45:32','',715,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale.jpg',0,'attachment','image/jpeg',0),(717,37,'2011-03-20 20:51:27','2011-03-21 02:51:27','','xti_6621pa','','inherit','open','open','','xti_6621pa','','','2011-03-20 20:51:27','2011-03-21 02:51:27','',715,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa.jpg',0,'attachment','image/jpeg',0),(718,37,'2011-03-20 21:00:30','2011-03-21 03:00:30','','xti_6456pae2','','inherit','open','open','','xti_6456pae2','','','2011-03-20 21:00:30','2011-03-21 03:00:30','',715,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6456pae2.jpg',0,'attachment','image/jpeg',0),(719,37,'2011-03-20 21:04:21','2011-03-21 03:04:21','','Saints, Mosaics, Basilica of San Vitale (526-547), Ravenna, Italy','','inherit','open','open','','saints-mosaics-basilica-of-san-vitale-526-547-ravenna-italy','','','2011-03-20 21:04:21','2011-03-21 03:04:21','',715,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128.jpg',0,'attachment','image/jpeg',0),(720,37,'2011-03-20 21:05:36','2011-03-21 03:05:36','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).\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 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).\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\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\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.\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&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\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.\n\n&nbsp;\n\n&nbsp;','San Vitale Basilica, Ravenna (TCP#2)','','inherit','open','open','','715-revision','','','2011-03-20 21:05:36','2011-03-21 03:05:36','',715,'http://jeanatacc.com/2011/?p=720',0,'revision','',0),(814,19,'2011-03-28 12:27:41','2011-03-28 18:27:41','','TCP2_report[1]','','inherit','open','open','','tcp2_report1','','','2011-03-28 12:27:41','2011-03-28 18:27:41','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/TCP2_report1.docx',0,'attachment','application/msword',0),(727,12,'2011-03-21 14:21:04','2011-03-21 20:21:04','<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\" />\r\n<p style=\"text-align: center\">\"ABANDON ALL HOPE, YOU WHO ENTER HERE\"<!--more--></p>\r\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.\r\n\r\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).\r\n\r\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.\r\n\r\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).\r\n\r\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).\r\n\r\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.\r\n\r\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.\r\n\r\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.\r\n\r\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.\r\n\r\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.”\r\n\r\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).\r\n\r\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.\r\n\r\n&nbsp;\r\n\r\n<span style=\"text-decoration: underline\">CITATION</span>\r\n<ul>\r\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>\r\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>\r\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>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\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>\r\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>\r\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>\r\n</ul>\r\n﻿Image provided by Dantesinferno.info- http://www.danteinferno.info/gates-of-hell.jpg','The Divine Comedy','','publish','open','open','','the-divine-comedy','','','2011-03-21 14:21:04','2011-03-21 20:21:04','',0,'http://jeanatacc.com/2011/?p=727',0,'post','',4),(728,12,'2011-03-21 14:17:05','2011-03-21 20:17:05','<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>\n﻿','The Divine Comedy','','inherit','open','open','','727-revision','','','2011-03-21 14:17:05','2011-03-21 20:17:05','',727,'http://jeanatacc.com/2011/?p=728',0,'revision','',0),(729,12,'2011-03-21 14:20:10','2011-03-21 20:20:10','<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-revision-2','','','2011-03-21 14:20:10','2011-03-21 20:20:10','',727,'http://jeanatacc.com/2011/?p=729',0,'revision','',0),(3476,1,'2013-10-14 12:38:04','2013-10-14 18:38:04','[youtube]<a href=\"http://www.youtube.com/watch?v=8OZCyp-LcGw\">http://www.youtube.com/watch?v=8OZCyp-LcGw</a>[/youtube]\r\n\r\nAs it has been called a “comedy with music” this is known for one of the finest Italian comic operas. The underlying and social implications of this story, is one of Mozart’s most inspired operas. This should be preserved, as Mozart used the emotional power of music to translate his understanding of humanity.<!--more-->\r\n\r\nItalian opera was superior in Europe, where fairy-tale themes serving to the glorified princes. Mozart did not like the operas as he felt they would hold back the drama. He wanted to make an opera with real situations and everyday modern problems. In 1786 Mozart decided to write music to The Marriage of Figaro. In this story line servants have the same right as their masters, and with Mozart’s music it helped with the story’s underlying sarcasm. It contains delightful music that expresses high-quality humor as well as a delicate proposition of the story’s intriguing and unfair and dishonest practices.\r\n\r\nTo understand this piece here is a quick Synopsis of the opera. The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single \"day of madness\" (<i>la folle giornata</i>) in the palace of Count Almaviva in Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro, as he plans to marry Rosina himself; yet Count Almaviva has declined the romantic youth of <i>Barber</i>. After giving Figaro a job as head of his servant-staff, he is now determined to obtain favors from Figaro\'s bride-to-be, Susanna. However; Count keeps giving excuse after excuse to delay the wedding of his two servants, which is arranged for marriage this very day. Figaro, Susanna, and Countess plot for a way to humiliate Count and expose his plan.  But when Count is exposed, he rebels by trying to force Figaro to marry an older woman who could be his mother. This threat turns out not working since the woman he chose ended up being his mother. Count\'s love for Countess was re-established after Figaro\'s and Susanna\'s quick management.\r\n\r\nThe upper class was surprised that they were not flattered. They refused to attend any of Mozart’s concerts.  The Emperor felt it was too long and that was why they did not like it.  The other composer loved his work yet, said it was not very good because they were jealous. Watch this small clip from the movie Amadeus where it shows Mozart conducting the Marriage of Figaro, you see the Emperor yawning and other composers smiling and listen to what the other composer says.\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=tTfiboMetpY\">http://www.youtube.com/watch?v=tTfiboMetpY</a>[/youtube]\r\n\r\nYou can see Mozart’s feelings in his music by listening to the music. Listen to the way the music moves really slow and you can feel the tension in his music as he is in the depressed state, at the same time the music switches to quick, upbeat, and fast paced while his mood switches to a happier and wittier Mozart. After time Mozart becomes broke and depressed; he becomes sick and has to borrow money from his friends. When the modern opera did not go as plan he continues borrowing money and eventually dies at the age of 35. But when asked today how people feel about this piece, it shows by all the different times this piece has been recreated as this opera is readily accepted in today’s world than before.\r\n\r\n&nbsp;\r\n\r\nCited work\r\n\r\n\"Wolfgang Amadeus Mozart.\" <i>Films On Demand</i>. Films Media Group, 1998. Web. 14 Oct. 2013. &lt;http://digital.films.com/PortalPlaylists.aspx?aid=17517&amp;xtid=29999&gt;.\r\n\r\n<a id=\"linkMozartWolfgangAmadeus\" title=\"Search for Mozart, Wolfgang Amadeus\" href=\"__doLinkPostBack(\'\',\'ss%7E%7EAR%20%22Mozart%2C%20Wolfgang%20Amadeus%22%7C%7Csl%7E%7Erl\',\'\');\">Mozart, Wolfgang Amadeus</a><a id=\"linkFisherBurtonD.\" title=\"Search for Fisher, Burton D.\" href=\"__doLinkPostBack(\'\',\'ss%7E%7EAR%20%22Fisher%2C%20Burton%20D%2E%22%7C%7Csl%7E%7Erl\',\'\');\">Fisher, Burton D.</a>In Marriage of Figaro.Coral Gables, Fla : Opera Journeys. 2001','Mozart\'s The Marriage of Figaro ','','inherit','open','open','','3420-revision-v1','','','2013-10-14 12:38:04','2013-10-14 18:38:04','',3420,'http://jeanatacc.com/2011/?p=3476',0,'revision','',0),(731,35,'2011-03-21 17:13:08','2011-03-21 23:13:08','','france-notre-dame-cathedral','','inherit','open','open','','france-notre-dame-cathedral','','','2011-03-21 17:13:08','2011-03-21 23:13:08','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral.jpg',0,'attachment','image/jpeg',0),(3482,75,'2013-10-14 14:27:32','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-10-14 14:27:32','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3482',0,'post','',0),(3483,77,'2013-10-14 15:28:49','2013-10-14 21:28:49','<strong>\r\n</strong>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/TCP.jpg\"><img class=\"size-medium wp-image-3488 aligncenter\" alt=\"TCP\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/TCP-198x300.jpg\" width=\"215\" height=\"300\" /></a></p>\r\n&nbsp;\r\n\r\n<strong> Li Ruzhen’s Flowers in the Mirror</strong>\r\n\r\n<b id=\"docs-internal-guid-492ed293-ba2c-a613-71b5-778223bf3d4d\"><a href=\"http://www.goodreads.com/book/show/2503277\">http://www.goodreads.com/book/show/2503277</a></b>\r\n\r\nBy: Gargi Dave\r\n\r\n&nbsp;\r\n\r\nLi Ju-Chen, (as known as Li Ruzhen), (1763-1830) was an author known to write novels of fantasy with feminist perception, although a few of his works such as: his treatise on phonology <i>Yin</i><i>‐</i><i>chien, </i>a chess handbook <i>Shou</i><i>‐</i><i>tzu p\'u</i>, were not published due to it being lost, Ruzhen’s most important book written was his 1828 novel, <i>Flowers in the Mirror. </i>According to web source, eNotes, “Through his novel, he attempted to reconcile classical Confucianism with Neo-Confucianism and meld traditional values and aesthetics with modern ideas. Li Ruzhen is remembered today as an erudite social critic and early feminist.” <i>Flowers in the Mirror</i> definitely depicted a fantasy Ruzhen had, creating a world where women of China played the role of men; working, taking care of the financial status of the family, going to school and making a career, while the men wore women’s clothing and taking care of the children playing the role of a woman. Ruzhen’s views completely shocked readers in this 100 chapter novel. Li Ruzhen established his knowledge and opinion on how women and men should be equal instead of having gender roles, and he also expresses, “criticism of the education and examination systems in China” (web source enotes) in <i>Flowers in the Mirror</i>, and due to his boldness and adventurous dare to write such a feminist book, <i>Flowers in the Mirror</i> should be protected and also read for future generations to come.<!--more-->\r\n\r\nThis classic novel that Ruzhen worked on for over a decade became a book of no classification. This feminist book was set in the Tang Dynasty with the ruler Empress Wu Zetian who overruled her brother’s shine to the throne, and decided to do things her way and demanded impossible tasks. As one of the tasks, she commands the flower spirits to allow the flowers upon the earth to bloom the very next day, which was unimaginable and impossible. But, the flower spirits did so and they were taken out of Heaven and put onto the earth as punishment from the Gods and at the end of their compensation, they will be allowed back into the Heavens. The Fairy of a Hundred Flowers’ father, Tang Ao, gets knocked down from his high rank to the lowest rank possible by the Empress. She suspects he has plotted against her will, and due to that, he gives up the animosity of the mortal life and transforms himself to an immortal being. Tang Ao decides to embark upon a journey with his brother-in-law, Merchant Lin, because he was told by a dream spirit that his afterlife was somewhere afar. During his adventurous quest he embarked upon, he came upon many flower spirits and accompanied them with their troubles, and during this journey he vanished into the mountain of Little Penglai. During his wandering, he visited the many countries as stated in web source “Readtiger”: “Country of Gentlemen, the Country of Women, the Country of Intestineless People, the Country of Sexless People, and the Country of Two-Faced People and many more” (websource). Towards the end of this novel, the Fairy of a Hundred Flowers searches for her father out into Little Penlai, and the many flower spirits with their husbands and brothers gather and throw the Empress out from her throne, and reinstate Emperor Tang Chung-tsung to his rightful throne. Ruzhen calls the Empress a “King” explaining the fact that she is ruler, and although she is a woman, she can also be defined as a “King”.\r\n\r\nDuring the time of when <em>Flowers in the Mirror</em> was written, there were many women writers who published letters and books explaining the problem women have with their unequal rights compared to men. This work was not typical of its era, because during this time period, all women were subjected to their men and their own vanity. Women had no voice, and also weren’t in their own control. There were many other feminists during this time such as Abigail Adams, Anna Wheeler, Frances Wright and others. They all similarly wrote about the social order in communities and how inequality was a major issue for women in society. The drive for these feminists to voice their opinions were very opinionated and very open due to the fact that they wanted to be a part of a change where women and men can altogether live equally. There were no laws of equal rights between men and women, but the feminists during the 18th century surely voiced their full on opinions about the issue.\r\n\r\nThis specific piece of work is definitely unusual for its time. Ruzhen was an opinionated man with a big heart to prove his ideas about empowered women and strived to prove his point about women being as equal as men, and also how women and men can play each other’s roles with the execution of society’s role as women only being subjects of vanity. In writing <i>Flowers in the Mirror,</i> Ruzhen was simply implying for society to treat both genders equally. After writing this novel for about 15 years, Ruzhen accomplished getting his point across with his vision in this fantasy novel and in web source “Readtiger”, “When Li writes about the different countries he is giving his aspirations for an ideal society. The novel is full of fantasy which shows the author\'s unique vision of life” (websource). During this time period of the 1800’s, women were seen as subjects of vanity and played the role of beauty and being a housewife. Society was the complete opposite of how Ruzhen fantasized society to be in his novel. This novel completely cracked the typical gender role played in reality. Throughout this book, the author indirectly states how women are able to do the tasks of men as well and easily as men are able to do the same.\r\n\r\n<i>          Flowers in the Mirror</i> was received as a “miscellaneous novel” at this time due to the mixture of genre’s in the novel (websource). There was much controversy in his reason of writing <i>Flowers in the Mirror</i> because in Ruzhen’s version of <i>Utopia </i>there was complete equality for men so therefore, “<i>Flowers in the Mirror</i> does not represent a completely revolutionary vision” (websource.enotes). His ideas inside<i> Flowers in the Mirror</i> did not give complete equality for women due to Utopia being a world for the equalness for all men. Otherwise, Ruzhen’s feminist approach was received fairly well. He introduced a “new world” during a time where women and men weren’t equal, and his approach gave many scholars new ideas and thoughts about a world where women could be just as equal as men.\r\n\r\nToday, many people have the same perception of <i>Flowers in the Mirror </i>back then compared to today. Editor Lynn M. Scott states, “Criticism of Li Ju‐chen\'s work is confined to the<i> Flowers in the Mirror </i>and addresses three main issues in the novel: the breadth of learning Li Ju‐chen demonstrates in the text; his criticism of the education and examination systems of China; and his denunciation of harmful and discriminatory practices against women.” People were shocked during the 1800’s as well as today, due to this book (websource.enotes). Li Ruzhen is known as one of the most feminist writers with a very narrow perception of society. Many people today, though, accept the author’s views on equality for women because today, there is complete equality for men and women. The only aspect which scholars see to be unusual is that a very knowledgeable man (Ruzhen) during this time in China has complete passion for equality among every individual in society, including men and women.\r\n\r\nMy personal reaction was uttered disbelief that a man living in Beijing during the 1800’s, a time where there is complete social order among society pertaining to the rights of men and women, wrote a novel about society needing to give entire equal rights to women in China. There are many different sections in this novel, but the one that sticks out to me is the gender roles and the different countries Ruzhen fantasized about in his work. I admire that he wrote this book in reference to his own opinion, and he sticks to his beliefs about full equality among members of society. The story of the Empress ruling the nation is impressive in my opinion, especially the part of the story where Ruzhen refers Empress Wu Zetian as “King”, that comparison shows that a woman in society can also play the role of a man or a “King”. Despite the fact that in the story, the Empress is thrown out of her own power as “King”, the story still gives readers today a new aspect of how back then, there were people who voiced their opinions on huge ordeals such as equality among society.\r\n\r\n<i>Flowers in the Mirror </i>compares to many works from generations of feminists, and only a handful during the 18th century. Rhuzen’s novel specifically compares to one particular work, the letters sent back and forth between Abigail Adams and her husband John Adams during the late 17th century, early 18th century. The few letters that Abigail sent to her husband declared that she had heard John declare independence, and she would like for him to add women’s equal rights to the “new code of laws” (websource). Abigail Adams claims a rebellion if the law isn’t passed to include the women into equal rights, such as  having a voice or any sort of representation in lawmaking or in general society, as it claims in the letters she wrote. In the letters, she voices her stern opinion on how husbands are trying to have complete control and protection over their wives, and also, how women need to be able to start being a part of the decision making process in general decisions. Abigail indirectly argues with her husband that he is being barbaric and arrogant towards the women of society by not taking what she has to say about equality among women and men seriously, but still her last stern letter proves why there should be outright equality and freedom amidst all women and men of civilization.\r\n\r\nThe letters of Abigail Adams and <i>Flowers in the Mirror </i>are similar in many ways, such as both Ruzhen and Abigail are unconditionally blunt and direct about their feelings about equality with both genders amid commonality. Regardless of John Adams response to his wife, Abigail nonetheless, still makes a stand to what she believes in, that is women having a voice when it comes to making decisions, and for there to be ultimate freedom between all people. Ruzhen’s fantasy shows his passion for an equal society when he names the different countries as they are in the <i>Flowers in the Mirror. </i>And also his will to push out his opinion on equality among men and women. Li Ruzhen and Abigail Adams was only a couple out of the many civilian feminists who had an opinion about freedom and equality for women.\r\n\r\nThe novel, <i>Flowers in the Mirror </i>is a powerful approach to changing society back in the 18th century, and also authoritative today seeing as there is complete, and full freedom and equality of the men and women today. This paramount piece of work should be restored for many generations to come because of its classic feminist entrance to a world that we live in today. Writers such as Li Ruzhen helped and pushed society become equal and as free-spirited as it is today.\r\n\r\n<strong>                                                                                                 Works Cited</strong>\r\n\r\n&nbsp;\r\n\r\n\"Introduction\" <span style=\"text-decoration: underline\">Nineteenth-Century Literary Criticism</span> Ed. Lynn M. Zott. Vol. 134. Gale Cengage 2004 <span style=\"text-decoration: underline\">eNotes.com</span> 14 Oct, 2013\r\n\r\n<b>This website gave me so much information about the author and his background, and more so the views and criticism that many scholars had pertaining to this novel. This is an amazing source to find the meaning of the true message of the book.</b>\r\n\r\n<b> </b>\r\n\r\n<i>LETTERS BETWEEN ABIGAIL ADAMS AND HER HUSBAND JOHN ADAMS</i>. N.p., n.d. Web. 14 Oct. 2013.\r\n\r\n<b>This was definitely my favorite source. It extremely helped out with my understanding of other feminists and their views on inequality. It gave me a piece of history that I did not know before, and know now. </b>\r\n\r\n<b> </b>\r\n\r\nN.p., n.d. Web. 14 Oct. 2013. &lt;http://readtiger.com/wkp/en/Flowers_in_the_Mirror&gt;.\r\n\r\n<b>This is where I found a clear and thorough view of the book. Also, a good source to know exactly what the main story is about from beginning to end.</b>\r\n\r\n&nbsp;\r\n\r\nN.p., n.d. Web. 14 Oct. 2013. &lt;<a href=\"http://www.qesign.com/offer.php?x=Li_Ruzhen\">http://www.qesign.com/offer.php?x=Li_Ruzhen</a>&gt;.\r\n\r\n<b>This source gave me an excellent understanding of the author and his ideas. It completely gave me an inside scoop of the authors thoughts, and how it is to feel like a true feminist back in the 18th century.</b>\r\n\r\n&nbsp;\r\n\r\n<i>The Women\'s Review of Books</i> , Vol. 9, No. 9 (Jun., 1992), pp. 14-15\r\n\r\n<b>This source was an incredible find because it showed a full list of feminists of the 18th century who voiced their opinions on inequality. Also, it answered many questions I had pertaining to the life lived by 18th century women.</b>\r\n\r\n&nbsp;','DaveGargi-TCP2 Flowers in the Mirror','','publish','open','open','','davegargi-tcp2-flowers-in-the-mirror','','','2013-10-14 21:52:09','2013-10-15 03:52:09','',0,'http://jeanatacc.com/2011/?p=3483',0,'post','',10),(733,35,'2011-03-21 17:23:07','2011-03-21 23:23:07','','france-notre-dame-cathedral','','inherit','open','open','','france-notre-dame-cathedral-2','','','2011-03-21 17:23:07','2011-03-21 23:23:07','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral1.jpg',0,'attachment','image/jpeg',0),(734,35,'2011-03-21 17:25:32','2011-03-21 23:25:32','','france-notre-dame-cathedral','','inherit','open','open','','france-notre-dame-cathedral-3','','','2011-03-21 17:25:32','2011-03-21 23:25:32','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral2.jpg',0,'attachment','image/jpeg',0),(3480,1,'2013-10-14 12:43:51','2013-10-14 18:43:51','','The_Anatomy_Lesson','','inherit','open','open','','the_anatomy_lesson','','','2013-10-14 12:43:51','2013-10-14 18:43:51','',3447,'http://jeanatacc.com/2011/wp-content/uploads/2013/10/The_Anatomy_Lesson.jpg',0,'attachment','image/jpeg',0),(3481,1,'2013-10-14 12:44:01','2013-10-14 18:44:01','<p style=\"text-align: right;\" align=\"right\">Jordan Pinion</p>\r\n<p style=\"text-align: right;\" align=\"right\">9/23/13</p>\r\n<p style=\"text-align: right;\" align=\"right\">HUMA 1302-007</p>\r\n<p style=\"text-align: right;\" align=\"right\">TCP2</p>\r\n<p style=\"text-align: center;\" align=\"center\">                <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/The_Anatomy_Lesson.jpg\"><img class=\"aligncenter size-full wp-image-3480\" alt=\"The_Anatomy_Lesson\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/The_Anatomy_Lesson.jpg\" width=\"300\" height=\"225\" /></a></p>\r\n<p style=\"text-align: center;\" align=\"center\">      The Anatomy Lesson</p>\r\n<p style=\"text-align: center;\" align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg\"><i>http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg</i></a><i></i></p>\r\n<p style=\"text-align: center;\" align=\"center\"><i> </i></p>\r\n<p style=\"text-align: left;\">Name: <i>The Anatomy Lesson of Dr. Nicolaes Tulp</i></p>\r\n<p style=\"text-align: left;\">By: <i> </i>Rembrandt Harmenszoon van Rijn</p>\r\n<p style=\"text-align: left;\">Date: 1632</p>\r\n<p style=\"text-align: left;\">       A step in a different direction from Rembrandt\'s typical biblical depictions, this piece depicts an anatomy lesson taught by one Nicolaes Tulp. At the time, live cadavers were only permitted to be used for dissection once a year, “The winder months were a useful time, since the bodies would keep better during the demonstrations that usually went on for several days.” (A.C.) What is most intriguing is Rembrandt\'s depiction of death, and the implications of the advancement of the sciences. The drama evoked by this piece is very much in line with the Baroque style of the time. This piece should be preserved not only for its textbook examples of Baroque styling, but for its insight into the emergence and widespread reception of the scientific revolution, which affects most everyone to this very day.</p>\r\n<p style=\"text-align: left;\"><!--more--></p>\r\n<p style=\"text-align: left;\">       The Netherlands of the time had just finished declaring their independence from a French monarchy, and the dutch way of life had already begun to represent itself as a large proponent of scientific discovery. “After thirty years of war to shake off the Spanish yoke, the seven northern provinces, including Holland, had gained their independence and established their right to     trade freely. Politically, the United Provinces were a fairly loose federation; religiously, they had embraced Calvinism; economically, they were going from strength to strength, largely as a result of their trading links with the East Indies and the West Indies. By the middle of the 17<sup>th</sup> century, half of Europe\'s trade was carried by Dutch ships.” (A.C.)</p>\r\n<p style=\"text-align: left;\">       Holland (and most of Northern Europe at the time) was greatly influenced by the scientific revolution, but not simply by means of technological advancement. The scientific revolution had a profound influence on the artistic minds of the time as well, “In the cities of seventeenth-century Holland, where Dutch lens-makers had produced the first telescopes and microscopes, artists paid obsessive attention to the appearance of the natural world. In still lifes, portraits,    landscape, and scenes of everyday life-- all secular subjects-- Dutch masters practiced the \'art of describing\'”.  (Fiero)</p>\r\n<p style=\"text-align: left;\"><i>       The Anatomy Lesson</i> was actually a departure of the norm for Rembrandt, as he was mostly famous at the time for his work on portraits, though it definitely was one of his more lucrative commissions. His work was actually very typical of its era, and many believe that he was actually very heavily influenced by Peter Paul Rubens.</p>\r\n<p style=\"text-align: left;\">       Both the Baroque style and the influences of the scientific revolution are very apparent in <i>The Anatomy Lesson</i>. “Some of these paintings,... reflect the Baroque fondness for colossal proportion and theatrical setting. Even in his smaller-sized group portraits, Rembrandt achieved a unity of dramatic effect typical of the Baroque style.” (Fiero) The stark contrast between lights and darks is a hallmark of the Baroque style, and at the same time, the “faces bear the force of individual personalities and the spirit of inquisitiveness peculiar to the Age of Science.” (Fiero)</p>\r\n<p style=\"text-align: left;\">       “In 17<sup>th</sup> century Holland, group portraits were an immensely popular genre – they were a social institution, the symbol of an up-and-coming middle class.” (A.C.) Autopsies were a rarity during the time period, and to have the privilege of immortalizing this scene is amazing.  <i>The Anatomy Lesson</i> stands out from its peers because of its almost expert use of Baroque styling, and its emphasis on the sciences as not only a worthwhile pursuit of knowledge, but also a potential object of beauty.</p>\r\n<p style=\"text-align: left;\"><i>       The Anatomy Lesson</i> was very well received for its time, as it appealed to much of both the medical, scientific and the artistic world. In addition to this, it was a departure from the portraiture form that Rembrandt was familiar with, showing that he was versatile as well as skillful. <i>The Anatomy </i>Lesson was one of Rembrandt\'s more profitable pieces. Rembrandt was actually paid commission by several of the patrons present in the piece, (most of which were not even medically inclined) so that they could be included in the work.</p>\r\n<p style=\"text-align: left;\">       Today <i>The Anatomy Lesson</i> has proven itself a work of art worth admiration. Of all the paintings by Rembrandt, it is certainly one of the most recognizable. “Far from not understanding the point of Professor Tulp’s anatomy lesson, Rembrandt has grasped its very essence. His painting, produced at a time of great historical, artistic, sociological, and epistemological developments, epitomizes the spirit of 17th-century Holland. Indeed, the artist’s concern with movement makes this painting the epitome of 17th-century European thinking: movement was central to the ideas of Descartes, Gassendi, Galileo, Leibniz, Newton - and Rembrandt.” (A.C.)</p>\r\n<p style=\"text-align: left;\">       It has been stated though that this may not have been a “true” anatomy lesson, at least as far as it is known for them to operate at the time.  “The body has not been \'cut-up\' (which is the actual meaning of \'anatomy\' – from Greek <i>ana</i> – meaning up and <i>temnein- </i>to cut)”. (A.C.)</p>\r\n<p style=\"text-align: left;\">       Personally, I admire the focus this piece emphasizes on the pursuit of science and knowledge. I especially liked how the doctors are depicted in the religiously appropriate dark clothing to indicate that this is a relatively somber occasion, yet still one of learning and exploration. The message of this piece I believe is that scientific and medical discoveries are on the up-turn. At roughly the same time <i>The Anatomy Lesson</i> was being painted, Galileo was being put on trial for his scientific beliefs/discoveries.</p>\r\n<p style=\"text-align: left;\">       Also a Dutch work <i>The Drawing Lesson</i> by Jan Steen is a good comparison of similar work of the time. It depicts a very crowded dutch art studio, in which two students are being taught by a drawing master. It is interesting to note that the students in this case, are two women.</p>\r\n<p style=\"text-align: left;\">       Both pieces are excellent examples of the Baroque style, effectively using the contrast of light and shadow to lead the eye to the main scene. Light is not the only way that these pieces guide the eye though, as both paintings very effectively use composition and the very specific placement of objects/people in order to bring the piece together as a whole.</p>\r\n<p style=\"text-align: left;\">       The differences between these two pieces seem to far outweigh the similarities. <i>The Drawing Lesson</i> by Jan Steen is exceptionally cluttered, which adds to its realism, but is in stark contrast to <i>The Anatomy Lesson</i> which is almost spartan in its accessories. “Often humorous and anecdotal, Steen\'s painting are usually brilliant in composition. Here, he uses the canvas leaning on the trunk and the lute on the floor to lead our eyes into the scene.” (Fiero) <i>The Anatomy Lesson</i> on the other hand uses almost purely the contrast of the dark background (which is almost unintelligible) with the light fullness of the faces present in order to draw the eye. “As in his religious compositions, he manipulates light for dramatic purposes: he spotlights the dissected corpse in the foreground and balances the darker area formed by the figure of the doctor with a triangle created by the brightly lit faces of the students (whose names appear on the piece of paper held by the central figure).” (Fiero)</p>\r\n<p style=\"text-align: left;\">       What is most important about this work that future generations must be aware of it that this piece is a perfect representation of the Baroque style (and it often used to depict the style). In addition to this, the implications of scientific thought, exploration and discovery as not only a mainstay in the pursuit of knowledge, but also in the pursuit of artistic accuracy are enormous. More than anything, <i>The Anatomy Lesson</i> screams that Science can be beautiful, and it is this lesson that I believe should be carried on to future generations.</p>\r\n<p style=\"text-align: left;\">“Rembrandt van Rijn” <i>Encyclopedia Britannica Online. </i>Encyclopedia</p>\r\n<p style=\"text-align: left;\">            Encyclopedia Britannica Inc. 2013</p>\r\n<p style=\"text-align: left;\">            Web. 23 September 2013</p>\r\n<p style=\"text-align: left;\">            This is the encyclopedia entry specifically for Rembrandt himself, as opposed to <i>The Anatomy Lesson</i>. It was invaluable for its insight into the time period and into the artist.</p>\r\n<p style=\"text-align: left;\">A.C. Masquelet “Rembrandt\'s Anatomy Lesson of Professor Nicolaes Tulp (1632)”</p>\r\n<p style=\"text-align: left;\"><i>            </i>Corpus Maitri. Orthopaedic<i></i></p>\r\n<p style=\"text-align: left;\">            Web. 23 Sep 2013</p>\r\n<p style=\"text-align: left;\">            This source is a third party in-depth analysis of not only the work, but the works validity as an accurate representation of a medical autopsy. I used this source not so much for the argument that it presents, but more for the information garnered about the specific art style.</p>\r\n<p style=\"text-align: left;\">“Rembrandt van Rijn” <i>Oxford Art Online</i></p>\r\n<p style=\"text-align: left;\">            ACC Library Online Services, 2013.</p>\r\n<p style=\"text-align: left;\">            Web. 26 Aug. 2013</p>\r\n<p style=\"text-align: left;\">            A wealth of information on the life and times of the artist. It includes the full bodies of work created by Rembrandt, not just limited in scope of <i>The Anatomy Lesson</i>. This resource was very good for fleshing out major influencers, as well as public reception of the time.</p>\r\n<p style=\"text-align: left;\">Fiero, Gloria K. “<em>Humanistic Traditions Vol. 2”</em></p>\r\n<p style=\"text-align: left;\">McGraw Hill, 2011. E-Book</p>\r\n<p style=\"text-align: left;\">Web. 1 Oct 2013</p>\r\n<p style=\"text-align: left;\">            The e-book specifically for this course, filled with abundant amounts of information concerning not only the piece, but its creator, colleagues and comparative pieces. It proved invaluable for providing reception information, as well as comparisons.</p>','The Anatomy Lesson','','inherit','open','open','','3447-revision-v1','','','2013-10-14 12:44:01','2013-10-14 18:44:01','',3447,'http://jeanatacc.com/2011/?p=3481',0,'revision','',0),(3479,1,'2013-10-14 12:42:46','2013-10-14 18:42:46','<p style=\"text-align: right;\" align=\"right\">Jordan Pinion</p>\r\n<p style=\"text-align: right;\" align=\"right\">9/23/13</p>\r\n<p style=\"text-align: right;\" align=\"right\">HUMA 1302-007</p>\r\n<p style=\"text-align: right;\" align=\"right\">TCP2</p>\r\n<p style=\"text-align: center;\" align=\"center\">                <img class=\"aligncenter\" alt=\"Breaking the 4th wall since 1632\" src=\"http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg\" width=\"300\" height=\"225\" /></p>\r\n<p style=\"text-align: center;\" align=\"center\">      The Anatomy Lesson</p>\r\n<p style=\"text-align: center;\" align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg\"><i>http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg</i></a><i></i></p>\r\n<p style=\"text-align: center;\" align=\"center\"><i> </i></p>\r\n<p style=\"text-align: left;\">Name: <i>The Anatomy Lesson of Dr. Nicolaes Tulp</i></p>\r\n<p style=\"text-align: left;\">By: <i> </i>Rembrandt Harmenszoon van Rijn</p>\r\n<p style=\"text-align: left;\">Date: 1632</p>\r\n<p style=\"text-align: left;\">       A step in a different direction from Rembrandt\'s typical biblical depictions, this piece depicts an anatomy lesson taught by one Nicolaes Tulp. At the time, live cadavers were only permitted to be used for dissection once a year, “The winder months were a useful time, since the bodies would keep better during the demonstrations that usually went on for several days.” (A.C.) What is most intriguing is Rembrandt\'s depiction of death, and the implications of the advancement of the sciences. The drama evoked by this piece is very much in line with the Baroque style of the time. This piece should be preserved not only for its textbook examples of Baroque styling, but for its insight into the emergence and widespread reception of the scientific revolution, which affects most everyone to this very day.</p>\r\n<p style=\"text-align: left;\"><!--more--></p>\r\n<p style=\"text-align: left;\">       The Netherlands of the time had just finished declaring their independence from a French monarchy, and the dutch way of life had already begun to represent itself as a large proponent of scientific discovery. “After thirty years of war to shake off the Spanish yoke, the seven northern provinces, including Holland, had gained their independence and established their right to     trade freely. Politically, the United Provinces were a fairly loose federation; religiously, they had embraced Calvinism; economically, they were going from strength to strength, largely as a result of their trading links with the East Indies and the West Indies. By the middle of the 17<sup>th</sup> century, half of Europe\'s trade was carried by Dutch ships.” (A.C.)</p>\r\n<p style=\"text-align: left;\">       Holland (and most of Northern Europe at the time) was greatly influenced by the scientific revolution, but not simply by means of technological advancement. The scientific revolution had a profound influence on the artistic minds of the time as well, “In the cities of seventeenth-century Holland, where Dutch lens-makers had produced the first telescopes and microscopes, artists paid obsessive attention to the appearance of the natural world. In still lifes, portraits,    landscape, and scenes of everyday life-- all secular subjects-- Dutch masters practiced the \'art of describing\'”.  (Fiero)</p>\r\n<p style=\"text-align: left;\"><i>       The Anatomy Lesson</i> was actually a departure of the norm for Rembrandt, as he was mostly famous at the time for his work on portraits, though it definitely was one of his more lucrative commissions. His work was actually very typical of its era, and many believe that he was actually very heavily influenced by Peter Paul Rubens.</p>\r\n<p style=\"text-align: left;\">       Both the Baroque style and the influences of the scientific revolution are very apparent in <i>The Anatomy Lesson</i>. “Some of these paintings,... reflect the Baroque fondness for colossal proportion and theatrical setting. Even in his smaller-sized group portraits, Rembrandt achieved a unity of dramatic effect typical of the Baroque style.” (Fiero) The stark contrast between lights and darks is a hallmark of the Baroque style, and at the same time, the “faces bear the force of individual personalities and the spirit of inquisitiveness peculiar to the Age of Science.” (Fiero)</p>\r\n<p style=\"text-align: left;\">       “In 17<sup>th</sup> century Holland, group portraits were an immensely popular genre – they were a social institution, the symbol of an up-and-coming middle class.” (A.C.) Autopsies were a rarity during the time period, and to have the privilege of immortalizing this scene is amazing.  <i>The Anatomy Lesson</i> stands out from its peers because of its almost expert use of Baroque styling, and its emphasis on the sciences as not only a worthwhile pursuit of knowledge, but also a potential object of beauty.</p>\r\n<p style=\"text-align: left;\"><i>       The Anatomy Lesson</i> was very well received for its time, as it appealed to much of both the medical, scientific and the artistic world. In addition to this, it was a departure from the portraiture form that Rembrandt was familiar with, showing that he was versatile as well as skillful. <i>The Anatomy </i>Lesson was one of Rembrandt\'s more profitable pieces. Rembrandt was actually paid commission by several of the patrons present in the piece, (most of which were not even medically inclined) so that they could be included in the work.</p>\r\n<p style=\"text-align: left;\">       Today <i>The Anatomy Lesson</i> has proven itself a work of art worth admiration. Of all the paintings by Rembrandt, it is certainly one of the most recognizable. “Far from not understanding the point of Professor Tulp’s anatomy lesson, Rembrandt has grasped its very essence. His painting, produced at a time of great historical, artistic, sociological, and epistemological developments, epitomizes the spirit of 17th-century Holland. Indeed, the artist’s concern with movement makes this painting the epitome of 17th-century European thinking: movement was central to the ideas of Descartes, Gassendi, Galileo, Leibniz, Newton - and Rembrandt.” (A.C.)</p>\r\n<p style=\"text-align: left;\">       It has been stated though that this may not have been a “true” anatomy lesson, at least as far as it is known for them to operate at the time.  “The body has not been \'cut-up\' (which is the actual meaning of \'anatomy\' – from Greek <i>ana</i> – meaning up and <i>temnein- </i>to cut)”. (A.C.)</p>\r\n<p style=\"text-align: left;\">       Personally, I admire the focus this piece emphasizes on the pursuit of science and knowledge. I especially liked how the doctors are depicted in the religiously appropriate dark clothing to indicate that this is a relatively somber occasion, yet still one of learning and exploration. The message of this piece I believe is that scientific and medical discoveries are on the up-turn. At roughly the same time <i>The Anatomy Lesson</i> was being painted, Galileo was being put on trial for his scientific beliefs/discoveries.</p>\r\n<p style=\"text-align: left;\">       Also a Dutch work <i>The Drawing Lesson</i> by Jan Steen is a good comparison of similar work of the time. It depicts a very crowded dutch art studio, in which two students are being taught by a drawing master. It is interesting to note that the students in this case, are two women.</p>\r\n<p style=\"text-align: left;\">       Both pieces are excellent examples of the Baroque style, effectively using the contrast of light and shadow to lead the eye to the main scene. Light is not the only way that these pieces guide the eye though, as both paintings very effectively use composition and the very specific placement of objects/people in order to bring the piece together as a whole.</p>\r\n<p style=\"text-align: left;\">       The differences between these two pieces seem to far outweigh the similarities. <i>The Drawing Lesson</i> by Jan Steen is exceptionally cluttered, which adds to its realism, but is in stark contrast to <i>The Anatomy Lesson</i> which is almost spartan in its accessories. “Often humorous and anecdotal, Steen\'s painting are usually brilliant in composition. Here, he uses the canvas leaning on the trunk and the lute on the floor to lead our eyes into the scene.” (Fiero) <i>The Anatomy Lesson</i> on the other hand uses almost purely the contrast of the dark background (which is almost unintelligible) with the light fullness of the faces present in order to draw the eye. “As in his religious compositions, he manipulates light for dramatic purposes: he spotlights the dissected corpse in the foreground and balances the darker area formed by the figure of the doctor with a triangle created by the brightly lit faces of the students (whose names appear on the piece of paper held by the central figure).” (Fiero)</p>\r\n<p style=\"text-align: left;\">       What is most important about this work that future generations must be aware of it that this piece is a perfect representation of the Baroque style (and it often used to depict the style). In addition to this, the implications of scientific thought, exploration and discovery as not only a mainstay in the pursuit of knowledge, but also in the pursuit of artistic accuracy are enormous. More than anything, <i>The Anatomy Lesson</i> screams that Science can be beautiful, and it is this lesson that I believe should be carried on to future generations.</p>\r\n<p style=\"text-align: left;\">“Rembrandt van Rijn” <i>Encyclopedia Britannica Online. </i>Encyclopedia</p>\r\n<p style=\"text-align: left;\">            Encyclopedia Britannica Inc. 2013</p>\r\n<p style=\"text-align: left;\">            Web. 23 September 2013</p>\r\n<p style=\"text-align: left;\">            This is the encyclopedia entry specifically for Rembrandt himself, as opposed to <i>The Anatomy Lesson</i>. It was invaluable for its insight into the time period and into the artist.</p>\r\n<p style=\"text-align: left;\">A.C. Masquelet “Rembrandt\'s Anatomy Lesson of Professor Nicolaes Tulp (1632)”</p>\r\n<p style=\"text-align: left;\"><i>            </i>Corpus Maitri. Orthopaedic<i></i></p>\r\n<p style=\"text-align: left;\">            Web. 23 Sep 2013</p>\r\n<p style=\"text-align: left;\">            This source is a third party in-depth analysis of not only the work, but the works validity as an accurate representation of a medical autopsy. I used this source not so much for the argument that it presents, but more for the information garnered about the specific art style.</p>\r\n<p style=\"text-align: left;\">“Rembrandt van Rijn” <i>Oxford Art Online</i></p>\r\n<p style=\"text-align: left;\">            ACC Library Online Services, 2013.</p>\r\n<p style=\"text-align: left;\">            Web. 26 Aug. 2013</p>\r\n<p style=\"text-align: left;\">            A wealth of information on the life and times of the artist. It includes the full bodies of work created by Rembrandt, not just limited in scope of <i>The Anatomy Lesson</i>. This resource was very good for fleshing out major influencers, as well as public reception of the time.</p>\r\n<p style=\"text-align: left;\">Fiero, Gloria K. “<em>Humanistic Traditions Vol. 2”</em></p>\r\n<p style=\"text-align: left;\">McGraw Hill, 2011. E-Book</p>\r\n<p style=\"text-align: left;\">Web. 1 Oct 2013</p>\r\n<p style=\"text-align: left;\">            The e-book specifically for this course, filled with abundant amounts of information concerning not only the piece, but its creator, colleagues and comparative pieces. It proved invaluable for providing reception information, as well as comparisons.</p>','The Anatomy Lesson','','inherit','open','open','','3447-revision-v1','','','2013-10-14 12:42:46','2013-10-14 18:42:46','',3447,'http://jeanatacc.com/2011/?p=3479',0,'revision','',0),(737,35,'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','','publish','open','open','','notre-dame-cathedral','','','2011-03-22 14:30:56','2011-03-22 20:30:56','',0,'http://jeanatacc.com/2011/?p=737',0,'post','',8),(738,35,'2011-03-21 17:30:48','2011-03-21 23:30:48','','france-notre-dame-cathedral','','inherit','open','open','','france-notre-dame-cathedral-4','','','2011-03-21 17:30:48','2011-03-21 23:30:48','',737,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/france-notre-dame-cathedral3.jpg',0,'attachment','image/jpeg',0),(739,35,'2011-03-21 17:35:22','2011-03-21 23:35:22','<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>\n\n&nbsp;\n\nhttp://www.destination360.com/europe/france/images/s/france-notre-dame-cathedral.jpg\n\n&nbsp;\n\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. 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.\n\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.\n\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.”\n\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.\n\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).\n\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.\n\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.”\n\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.\n\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.\n\n&nbsp;\n<p style=\"text-align: center\">Bibliography</p>\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;.\n\n&nbsp;\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\n&nbsp;\n\n&nbsp;','Notre Dame Cathedral','','inherit','open','open','','737-revision','','','2011-03-21 17:35:22','2011-03-21 23:35:22','',737,'http://jeanatacc.com/2011/?p=739',0,'revision','',0),(740,35,'2011-03-21 17:35:45','2011-03-21 23:35:45','<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. 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-2','','','2011-03-21 17:35:45','2011-03-21 23:35:45','',737,'http://jeanatacc.com/2011/?p=740',0,'revision','',0),(741,35,'2011-03-21 17:37:49','2011-03-21 23:37:49','<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>\n\n&nbsp;\n\nhttp://www.destination360.com/europe/france/images/s/france-notre-dame-cathedral.jpg\n\n&nbsp;\n\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.\n\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.\n\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.”\n\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.\n\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).\n\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.\n\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.”\n\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.\n\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.\n\n&nbsp;\n<p style=\"text-align: center\">Bibliography</p>\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\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;.\n\n&nbsp;\n\n&nbsp;','Notre Dame Cathedral','','inherit','open','open','','737-autosave','','','2011-03-21 17:37:49','2011-03-21 23:37:49','',737,'http://jeanatacc.com/2011/?p=741',0,'revision','',0),(743,16,'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\">&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','','publish','open','open','','charlemagnes-palatine-chapel','','','2011-03-22 14:30:38','2011-03-22 20:30:38','',0,'http://jeanatacc.com/2011/?p=743',0,'post','',11),(744,16,'2011-03-21 18:28:50','2011-03-22 00:28:50','Charlemagne’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	The 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	Charlemagne 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	Charlemagne 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	Although 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\n\n	\n\n\n\n\n\nWORKS CITED:\n\n\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011. \n\n\"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  	\n\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  	\n','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision','','','2011-03-21 18:28:50','2011-03-22 00:28:50','',743,'http://jeanatacc.com/2011/?p=744',0,'revision','',0),(746,16,'2011-03-21 18:36:42','2011-03-22 00:36:42','','IMG_8341hdr2','','inherit','open','open','','img_8341hdr2','','','2011-03-21 18:36:42','2011-03-22 00:36:42','',743,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8341hdr2.jpg',0,'attachment','image/jpeg',0),(745,16,'2011-03-21 18:34:00','2011-03-22 00:34:00','<p>Charlemagne’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”).</p>\r\n<p>	The 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. </p>\r\n<p>	Charlemagne 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.  </p>\r\n<p>	Charlemagne 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”). </p>\r\n<p>	Although 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. </p>\r\n<p>WORKS CITED:</p>\r\n<p>\"Aachen Cathedral.\" sacred-destinations.com.Sacred Destinations, n.d. Web. 21 March. 	2011. </p>\r\n<p>\"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<p>\"Door\"  The Grove Encyclopedia of Decorative Arts. Edited by Gordon Campbell. 	Oxford University Press 2006.  Austin Community College.  21 March 2011  	</p>\r\n<p>Fiero, Gloria. “Charlemagne and the Carolingian Renaissance.” The Humanistic 	Tradition, book 2.  6th ed. McGraw-Hill, 2011. </p>\r\n<p>\"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  	</p>\r\n<p>\"Mosaic\"  The Grove Encyclopedia of Materials and Techniques in Art. Gerald Ward. 	Oxford University Press, 2008.  Austin Community College.  21 March 2011  	</p>\r\n','Charlemagne\'s Palatine Chapel','','inherit','open','open','','743-revision-2','','','2011-03-21 18:34:00','2011-03-22 00:34:00','',743,'http://jeanatacc.com/2011/?p=745',0,'revision','',0),(747,16,'2011-03-21 18:37:46','2011-03-22 00:37:46','','IMG_8261','','inherit','open','open','','img_8261','','','2011-03-21 18:37:46','2011-03-22 00:37:46','',743,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/IMG_8261.jpg',0,'attachment','image/jpeg',0),(748,16,'2011-03-21 18:46:38','2011-03-22 00:46:38','<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></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<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-3','','','2011-03-21 18:46:38','2011-03-22 00:46:38','',743,'http://jeanatacc.com/2011/?p=748',0,'revision','',0),