(628,23,'2011-03-09 20:42:11','2011-03-10 02:42:11',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\r\n\r\n\r\nHello again, fellow Americans.  We will document that the year is 2100 A.D. The earth is still uninhabitable, as it was in our last meeting several months ago. Progress has been slow to develop tools that will enable inhabitants on planet Earth. We want to look again at items to preserve and serve as inspiration for our children. The legacy of our world is to be decided in the next few meetings. This task is of paramount importance. The second item I believe would be of utmost significance to future generations is, the lancet rose windows of Sainte-Chapelle in Paris, France. The lancet rose windows of the Sainte-Chapelle are the finest and most complete example of what we know today as classic Gothic architecture. . All facets of Gothic architecture are featured in the Sainte-Chappelle. The stained glass displayed here is the most impressive example available in the world. Some other examples of classic Gothic architecture here are stone sculpture, wood sculpture, painting, metalwork, enamels and ivories.\r\n\r\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \r\nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \r\n\r\nLancet windows are very narrow shape and high with an arch. It gets the name lancet from being shaped like the tip of a lance. Stained glass was thought to have started at least 5,000 years ago. The time of the lancet rose windows  was known as the golden age of stained glass. It is common knowledge that today only 10% of all stained glass is used in churches. This makes the Sainte-Chapelle windows an even more important example to preserve for the future of mankind. It was an engineering marvel. It was purported that engineers constructing Gothic cathedrals used a mathematical formula hidden in pages from the bible, similar to that of creating the universe. This idea is of major consequence for future generations to adapt, build and create. The Temple of Solomon has been compared to many Gothic buildings.  \r\n \r\nhttp://www.flickr.com/photos/22541241@N06/2582836127/\r\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \r\n\r\nThe Sainte-Chapelle was designed as a place of worship for the royal family, the court and its servants. The architect of the Sainte-Chapelle was thought to be Jean De Chelles, who designed the famous Notre-Dame. Another possible contributor to the chapel was Pierre De Montreuil, who was Jean’s pupil and rival. The original plan of the chapel was attributed to Pierre De Montreuil, who had also worked on the Royal Abbey of Saint-Denis and the Notre-Dame Cathedral.  The Sainte-Chapelle was purchased in 1239 by Louis IX from Baldwin II, Emperor of Constantinople. Louis IX acquired the Crown of Thorns, which was the inspiration for building Sainte-Chapelle. The emperor was thought to be desperate for cash, thus parting with such a precious relic. Two years after the purchase more relics were brought from Byzantium. Louis IX paid 40,000 livres to build the chapel. At the time, this was a very small amount of money. 135,000 livres was paid for the relics that were housed there. Note that it is more than triple the figure for the relics than for the building they were housed. The chapel underwent major restoration efforts begun in 1837 by Felix-Jacques Duban, Jean-Baptiste-Antoine Lassus and Viollet-le-Duc. The restorations were completed in 1863 by Emile Boeswillwald.\r\n \r\nhttp://www.flickr.com/photos/duncanc/131471204/\r\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \r\n\r\nSainte-Chapelle served a double purpose. The lower chapel served as a basement for storage of numerous precious religious artifacts. The upper chapel served as a place of worship. The upper chapel is comprised of richly hued stained glass windows. The windows comprise 600 square meters or 6456 square feet in area. The figures in the stained glass windows illustrate 1130 figures from the Bible. The fact that there are over 1100 figures is one of the main reasons that this building needs to be preserved. The story told by the windows is significant for religious, social and historical purposes. Blue floral mosaic patterns and red lattice shapes color the majority of the window panes. The dark blue panes emit an emotion of warmth and power. The crimson red panes emit an emotion of love and humanity. The upper chapel decorations adorning the walls include the old and new testament in stained glass, the history of the relics of the Passion in stained glass, statues of the apostles and enamel paintings of martyrs in a series of medallions.\r\n\r\n http://www.flickr.com/photos/oric1/3191545715/\r\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \r\n\r\n Numerous other western churches used the Sainte-Chapelle for its architectural model. Some examples you may be familiar with are the Bourg, Chartres, Beauvais the Notre-Dame and the Westminster Abbey. The most significant aspect of Gothic architecture evident in the Sainte-Chapelle is its use of the Rayonnant style in the stained glass windows. This style was a phase of architectural design involving reduced mass and scale. It is difficult to explain in words on paper. The visual of the windows themselves explains Rayonnant the best. It increased the importance of voids and intensified the complexity of trace patterns. Rayonnant developed for political, economic, religious and artistic reasons.  It has the look of very little metal or stone building, and very extensive use of glass in the space provided. The stained glass panes appear to be floating as a result of the construction techniques. Gothic architecture was different than others in its use of reaching for height. The height was representative of Gothic pride. The height created was an attempt by the people to be closer to God. Painstaking manual labor for thousands of man hours was involved to create the height seen in these windows. By calculating angles and weight and scale, builders could use more windows to convey a message, rather than how the exterior of the building impressed viewers. The Sainte-Chapelle’s most impressive characteristic is that of its stained glass windows. The windows cover virtually all of the wall areas and reach from near the floor almost to the ceiling. It was thought that occupants of the Sainte-Chapelle were made to feel that they were in a sacred space that transcended religious significance. Rayonnant style became a permanent feature of architecture after the time that the Sainte-Chapelle was built.\r\n \r\nhttp://www.flickr.com/photos/vt_professor/3670884128/\r\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \r\n\r\nGothic architecture was the prevalent style of the time of Louis IX. Many buildings and places of worship displayed various pieces and styles of the Gothic phase. Numerous other chapels in Paris in the 13th century display paintings or sculpture or enamels, which are good examples of the Gothic emphasis. What makes the Sainte-Chapelle special, unique and distinguishable is the fact that all pieces of the Gothic architecture of the time are encompassed there. The stained glass windows on display in Sainte-Chapelle are unlike any other anywhere else in the world. The building of the stained glass windows makes the ceiling seem to appear to float. Each window, divided into arches, reads from left to right and from top to bottom. The story of the Bible unfolds with each window pane.\r\n \r\nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\r\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \r\n\r\nIn contrast to the Sainte-Chapelle would be the Saint Germain Des Pres Chapel. The Sainte- Chapelle emphasizes its story telling in a vertical nature. The St-Germain des-Pres chapel tells its story horizontally. The Clermont Cathedral in central France was thought to have been inspired by the Sainte-Chapelle. Mimicry is the highest form of flattery. Copycats of the Rayonnant style were the Westminster Abbey, The Cologne Cathedral in Germany, and the Leon Cathedral in Spain. These 5 other buildings all took from the original. They all have their strengths and weaknesses in the realms of art, history, politics and religion. However, the Sainte-Chapelle, I believe, gives the most compelling evidence that it should be around for centuries to come.  The biggest reason the chapel should be kept is for the stained glass windows inside its walls. \r\n\r\n http://www.flickr.com/photos/bartpalka/4835794091/\r\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \r\n\r\nIn the 13th century the Sainte-Chapelle was perceived as a historical, religious, political and social phenomenon. The reason it was considered as such was because of the impact that the stained glass windows made on the people of Paris and the world. It was received with awe and revered by generations to follow. It was the focal point for the rulers of France. It brought together religion and royalty. It was said that Sainte-Chapelle was a result of Louis IX political ambition to be the central monarch of western Christendom. The workmanship in the stained glass windows conveys this ambition visually.\r\n \r\nhttp://www.flickr.com/photos/12152206@N03/3188777843/\r\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \r\n\r\nSainte-Chapelle in present day is one of the most adored , visited and researched buildings due to the fact that it is of such artistic value for our future. It also is critical for our architectural future due to it being the birth of the Rayonnant style as we know it today. It is paramount to our religious future in that it was home to the Crown of Thorns. The story of the bible is told through the stained glass window panes. According to the TripAdvisor website, the Sainte-Chapelle is the 3rd most popular site to visit in France out of 763 choices. Generations value its significance because it encompasses all aspects of the Gothic lifestyle. The windows are its most valuable asset.\r\n \r\nhttp://www.flickr.com/photos/29512749@N07/4235571358/\r\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \r\n\r\nI believe the lancet rose stained glass windows in the Sainte-Chapelle are the most unique and beautiful contained in a religious building of its kind. The fact that the stained glass windows exemplify the Bible’s story with such gorgeous lighted detail cannot be argued. The Sainte-Chapelle implements the use of grisaille. Grisaille is a fascinating and complex artform. It comes from French, meaning (to paint or make gray). Grisaille technique is common in stained glass, where the need for sections in different colours was greatly reduced. Portions of a window may be done in grisaille — using, silver stain or vitreous paint — while other sections are done in coloured glass. Silver stain, ironically, gives the glass a golden effect. This elegance and refinement of the grisaille technique in the Sainte-Chapelle were beyond compare even in contemporary illumination.  I believe Gothic architecture will be around for centuries to come. The Rayonnant style embodied in the stained glass rose windows is a perfect example of what a royal chapel should look like. I was in awe of the rich reds and burning blues used on the window panes throughout. The magnificence of each unit is difficult to put into words. Beauty like that of the lancet rose windows cannot be viewed anywhere else on Earth. Thus it is imperative that we keep this facility for our future.\r\n\r\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\r\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \r\n\r\nMy reason for nominating the stained glass windows of the  Sainte-Chapelle for future preservation is because it has importance on numerous levels. It is valuable in the architectural arena, due to the Rayonnant style and the classic Gothic architecture themes used throughout. It is important for religious purposes due to the fact that it housed the Crown of Thorns and its stained glass windows told the story of the Bible. The attention to detail and the craftsmanship of each stained glass window could be viewed as priceless on an individual level, not to mention the fact that they are all centrally located in one building in Paris, France. Two thirds of the pieces in the Sainte-Chapelle are original artworks representing the finest examples of 12th century craftsmanship. The grisaille technique implemented in the Sainte-Chapelle is yet another reason I am nominating this building for continued preservation. Its value in the area of politics is critical as well. It housed the royal family and was the central worship location in Paris. By taking the time, cost, thought and manpower to create this masterpiece, Louis IX became an icon of his time. Combining religion, politics, history and art in the Sainte-Chapelle makes it arguably the most valuable piece of workmanship that exists today.  Gothic architectures’ main focus was to create greater light and visual space. The example of the lancet rose stained glass windows of Sainte-Chapelle are the very best in the world that is still in existence. Nowhere else in the world can a visitor obtain the same feelings as being lifted up into a zone of space and light. The stained glass examples contained within the walls of the Sainte-Chapelle were a result of artists trying to keep up with stylistic standards established by artists in the realms of oil, ink and tempera. The coloring and attention to detail and toils of the artists in creating this masterpiece were meant to give a very truthful representation. It was meant to look as lifelike as possible. The color richness and abundance of light throughout this building make it gorgeous beyond words. I implore my fellow committee members to consider the lancet rose stained glass windows of the Sainte-Chapelle in Paris, France as a feature for humankind to adore, be awed, develop inspiration and realize religious significance for many, many years to come.  \r\n\r\n\r\n\r\nWORKS CITED\r\n\r\n\r\nSturm, James L. <em>Stained Glass from Medieval Times to the Present</em>. New York: E.P. Dutton, Inc., 1982. Print. \r\n\r\nBrisac, Catherine. <em>A Thousand Years of Stained Glass</em>. Garden City, New York: Doubleday &amp; Company, Inc, 1986. Print. \r\n\r\nKaye, Nicholas, Marcel Aubert, and Simone Goubet. <em>Gothic Cathedrals of France and their Treasures</em>. London, England: Adlard and Son, Ltd., 1959. Print. \r\n\r\n\"The Illuminated Church and the Rayonnant Style\". <em>Arts and Humanities Through the Eras.</em>\r\nEd. Edward I. Bleiberg, et al. \r\nVol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 45-49. <em>Gale Virtual Reference Library</em>. Web 3 Mar 2011\r\nhttp://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3427400409&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\nSheppard, Laurel M. \"Stained Glass.\" <em>How Products Are Made: An Illlustrated Guide to Product Manufacturing.</em> Ed. Kyung-Sun Lim. Vol. 2. Detroit: Gale Research, 1996. 423-428. <em>Gale Virtual Reference Library.</em> Web. 3 Mar. 2011\r\nhttp://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX2896600097&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\nWeiss, Daniel H. \" Architectural symbolism and the decoration of the Ste.-Chapelle.\" <em>Art Bulletin </em>77.2 (1995):308. <em>Masterfile Premier</em>. EBSCO. Web. 22 Feb. 2011\r\n\r\nhttp://www.discoverfrance.net/France/Cathedrals/Paris/Sainte-Chapelle\r\n\r\nhttp://www.sacred-destinations.com/france/paris-sainte-chapelle\r\n\r\nGiblin, J.C.. \" Miracles of color and light.\" <em>Cricket </em>18.10 (1991): 26. <em>Masterfile Premier.</em> EBSCO. Web. 22 Feb. 2011\r\n\r\nRaguin, Virginia Chieffo. \" The Isaiah Master of the Sainte-Chapelle in Burgundy.\" <em>Art Bulletin </em> 59.4 (1977) : 483. <em>Academic Search Complete</em>. EBSCO. Web.22 Feb. 2011\r\n','DONJAY','','inherit','open','open','','591-revision-20','','','2011-03-09 20:42:11','2011-03-10 02:42:11','',591,'http://jeanatacc.com/2011/?p=628',0,'revision','',0),(692,1,'2011-03-09 19:46:44','2011-03-10 01:46:44','TCP2\r\nConfessions\r\nSt.Augustine of Hippo\r\n354 C.E\r\n\r\nKris Cooley\r\n\r\nThis is the first historical autobiography. It does not cover all of this man\'s life but deals\r\nwith his teenage years up until his conversion in his thirties. The subject matter is\r\ndealing with questions of faith and the lusts of the mind, body, and curiosity of his\r\nsenses.(Coffin) St. Augustine’s Confessions needs to be taken into the future because of\r\nit’s honest truth of man’s questions towards the Christian faith.\r\n\r\nThis was a Christian piece of work, but was written in a style of prayer and confessions\r\nfor his Lord Jesus. (Outler) It covers the daily trials of a secular man. It addresses an audience of\r\nyoung and old that has had the same issues or questions of faith. Confessions is written\r\nfor humanity to understand that faith is a trial of learning who you are and\r\nunderstanding who God is. (Coffin)\r\n\r\nInnovative of its time was because this particular piece of work isn\'t a Christian\r\ndoctrine. It wasn\'t meant for the church to use for instruction and daily rituals that\r\nshould be used by man in his worship of God. Instead, it was material for the\r\nwandering, lost, those seeking answers. Confessions is a personal  journey towards\r\nsalvation and how Augustine found faith out of a pagan and lustful life. (Pullman)\r\n\r\nTypical of its era, the subject matter of St. Augustine\'s Confessions was faith based.\r\nDuring the fourth century, Christianity was developing dramatically and religion was\r\ndebated heavily in schools and major cities. The moral justification of\r\nConfessions influenced the growing number of people that were searching for a faith\r\nthat made them feel whole.  Augustine\'s conversion into Christianity is the central point of\r\nConfessions. (Pullman)\r\n\r\nFascination with spirituality tempted most men\'s curiosity, whether it be pagan or\r\nChristian.  It was a fragile time in religion and cultural expansion of the minds of men\r\nwas sought out vigorously.  St. Augustine\'s Confessions was just one of these curiosity\r\ndriven writings of spirituality and his own personal path of eventual salvation through\r\nthe Church. (Cook)\r\n\r\nToday,  St. Augustine\'s writings are held in high regard with the church and scholars.\r\nHis teachings are a modern day vision of the \"Philosophy of History\" of this particular\r\ncentury.(Outler)  Confessions is used to teach men today about the value and triumph of soul\r\nsearching for a faith that you may not always understand.\r\n\r\nConfessions is considered a look into the questions of humanity weighted with the\r\nspirituality of God. Many Christian scholars quote and teach from this book. It not only\r\nbrings up faith based questions, but also moral questions and those implications\r\nof acting upon the immoral impulses.(Vance)\r\n\r\nThis book compares to the writings of Libanius. He was a Greek Sophist during the same\r\ncentury. In his writings, he wanted to preserve the Greek traditions. He also created a\r\nhistorical autobiography, but it was a scholar\'s journal, not a quest to find religion.\r\nEven though Libanius lived as if Christianity didn\'t exist, his beliefs and teachings\r\ninfluenced notable Christians such as John Chrysostome.  Libanius was honored by the\r\nChristian emperor Theodosius I,  who named Libanius a praetorian prefect.(Britannica Biographies )\r\nEven though Libanius and St. Augustine had different belief structures, the good in their\r\nwritings on morality still inspire generations of people searching for answers.\r\n\r\nBoth these men have given future generations a journey through words of the cultural\r\nand historic transistion that was occuring during the fourth century. Without their\r\ninfluence and documentation, the changing world of theirs would have remained silent\r\nagainst the sands of time.\r\n\r\nDuring the time of Augustine of Hippo, humanity was trying expanding thought towards\r\nethics, philosophy and religion. It was a melting pot of different beliefs and strong\r\nskeptism. When Augustine was quoted in Rome by a colleague before a Pelagius\r\npresence, the discussion turned quarrelsome. The ideas presented by St. Augustine\r\nwent against their rational thoughts and pagan morals. ([Internet Encyclopedia of Philosophy)\r\n\r\nAugustine helped restructure Christianity during the fourth and fifth century, giving him\r\nthe prestige of being named one of the original founders of Christianity. His work would\r\nbring sociological, ethical, political, and theological aspects to the Christian society\r\nduring the Middle Ages. (Outler)\r\n\r\nI believe this book should come with us because of the immense truth of it. Even if you\r\ndon\'t believe in Christianity, it is a guide to the questions of lust, belief and morality. The\r\nhistorical context of Confessions is a testament to our future of mankind\'s insatiable\r\ncuriosity of spirituality.\r\n\r\nBibliography\r\nCook, James Wyatt. \"Confessions.\" Encyclopedia of Ancient Literature. New York: Facts On File, Inc., 2008. Bloom\'s Literary Reference Online. Facts On File, Inc. http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= EAncL0117&amp;SingleRecord=True (accessed February 22, 2011).\r\nVance, Eugene. \"St. Augustine.\" European Writers: The Middle Ages and the Renaissance. Ed. George Stade. Vol. 1. New York: Charles Scribner\'s Sons, 1983. Literature Resource Center. Gale. Austin Community College Libraries. 22 Feb. 2011 &lt;http://go.galegroup.com/ps/start.do?p=LitRC&amp;u=txshracd2487&gt;.\r\nWillis, Garry. Interview, http://press.princeton.edu/releases/m9393.html\r\n\"Augustine [Internet Encyclopedia of Philosophy].\" Internet Encyclopedia of Philosophy. Web. 09 Mar. 2011. &lt;http://www.iep.utm.edu/augustin/#H5&gt;','St. Augustine\'s Confessions','','inherit','open','open','','610-revision-5','','','2011-03-09 19:46:44','2011-03-10 01:46:44','',610,'http://jeanatacc.com/2011/?p=692',0,'revision','',0),(630,33,'2011-03-09 20:59:52','2011-03-10 02:59:52','<p>Imagine a society where the President didn’t think he had to abide by the same rules as the citizens and he thought he could do whatever he wanted and get away with it. Imagine your government over turning laws and setting laws that hurt you, the citizen, and not showing the smallest concern for your well being. How would this make you feel? Would you want to do something about it? Well in 1215 or 13th century England that is how the Villeins or peasants felt about King John. Even though he was a very knowledgeable and a strong leader, they felt that he exploited his power way above his limits and he crippled their individual freedoms. They also felt that he was unfair, disregarded justice and imposed ruthless punishments that people didn’t deserve. This is how the Magna Carta of 1215 was born. The Magna Carta, 1215 should be preserved because it was the gateway of inspiration and the foundation for many Constitutions as well as our own, Bill of Rights.</p>\r\n \r\n\r\n<!--more-->\r\n<p>King John’s reign had a history of unsuccessful military campaigns and prolonged the struggle with the church and the baronial rebellion. The people of England were fed up so the scribes, who were a part of the royal chancery, wrote up the Magna Carta, 1215 or to some “The Great Charter”.  The Magna Carta, 1215 required King John to proclaim certain liberties, and for certain limits of royal authority to be made.  \"The Great Charter\" sought to prevent the King from furthermore exploiting his power and to be made clear that the King, himself, was subject to the law and not above it. King John signed the Magna Carta in 1215 at Runnymede but it was not confirmed until 1217(British Library 2011).</p>\r\nMany copies of the charter were on sheets of parchment which was made from treated sheep skin. Parchment was one of the most expensive pieces of paper in the 13th century so scribes abbreviated a lot of the words to save space. It is also hard to read because it is written in Medieval Latin and bad small script. No one knows the exact numbers of how many copies of the Magna Carta were written but there are only four copies that remain today. Something interesting is that the Magna Carta is not authenticated by the King’s signature; it is authenticated with the Great Seal. The Magna Carta by the Villeins was viewed as a breakthrough for the handful of liberties that they did have. It limited fines that could be posed against them; it also stopped officials from taking goods without payment or forcing them to perform hard labor.\r\n\r\nThe Magna Carta was and still is the influence for many Country Constitutions such as the Bill of Rights for the United States. I find it liberating that a group of people took the time to challenge such hierarchy and fought for simple liberties that we often take for granted today. It was remarkable and we should thank them because their foundation and struggle was the gateway to the shaping of our liberties.\r\n\r\nWork’s cited\r\n\r\nLibrary, British. \"Magna Carta, 1215.\" THE BRITISH LIBRARY - The World\'s Knowledge. Web. 09 Mar. 2011. &lt;http://www.bl.uk/&gt;.<img src=\"http://jeanatacc.com/2011/wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" />','Magna Carta, 1215 (The Great Charter)','','publish','open','open','','magna-carta-1215-the-great-charter','','','2011-03-09 20:59:52','2011-03-10 02:59:52','',0,'http://jeanatacc.com/2011/?p=630',0,'post','',6),(631,7,'2011-03-09 20:54:14','2011-03-10 02:54:14','','map04chrls','Charlemagne’s Empire','inherit','open','open','','map04chrls','','','2011-03-09 20:54:14','2011-03-10 02:54:14','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls.gif',0,'attachment','image/gif',0),(632,7,'2011-03-09 20:41:30','2011-03-10 02:41:30','<p>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. There 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.[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 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\" class=\"size-full wp-image-623\" /></a>[/caption]\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.</p>\r\n<p>Frescoes 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. </p>\r\n<p>At 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 efforts of those 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\nWith this a buffer protecting itself from the Muslims added to Charlemagne’s conquests, 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.<br />\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.”</p>\r\n<p>One 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. </p>\r\n<p>Charlemagne’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)<br />\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)<br />\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.    </p>\r\n<p>Jesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés<br />\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.<br />\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).  </p>\r\n<p>As 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.<br />\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.<br />\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)<br />\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.</p>\r\n<p>CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-5','','','2011-03-09 20:41:30','2011-03-10 02:41:30','',619,'http://jeanatacc.com/2011/?p=632',0,'revision','',0),(633,33,'2011-03-09 20:58:23','2011-03-10 02:58:23','<p>Imagine a society where the President didn’t think he had to abide by the same rules as the citizens and he thought he could do whatever he wanted and get away with it. Imagine your government over turning laws and setting laws that hurt you, the citizen, and not showing the smallest concern for your well being. How would this make you feel? Would you want to do something about it? Well in 1215 or 13th century England that is how the Villeins or peasants felt about King John. Even though he was a very knowledgeable and a strong leader, they felt that he exploited his power way above his limits and he crippled their individual freedoms. They also felt that he was unfair, disregarded justice and imposed ruthless punishments that people didn’t deserve. This is how the Magna Carta of 1215 was born. The Magna Carta, 1215 should be preserved because it was the gateway of inspiration and the foundation for many Constitutions as well as our own, Bill of Rights.</p>\n \n\n<!--more-->\n<p>King John’s reign had a history of unsuccessful military campaigns and prolonged the struggle with the church and the baronial rebellion. The people of England were fed up so the scribes, who were a part of the royal chancery, wrote up the Magna Carta, 1215 or to some “The Great Charter”.  The Magna Carta, 1215 required King John to proclaim certain liberties, and for certain limits of royal authority to be made.  \"The Great Charter\" sought to prevent the King from furthermore exploiting his power and to be made clear that the King, himself, was subject to the law and not above it. King John signed the Magna Carta in 1215 at Runnymede but it was not confirmed until 1217(British Library 2011).</p>\nMany copies of the charter were on sheets of parchment which was made from treated sheep skin. Parchment was one of the most expensive pieces of paper in the 13th century so scribes abbreviated a lot of the words to save space. It is also hard to read because it is written in Medieval Latin and bad small script. No one knows the exact numbers of how many copies of the Magna Carta were written but there are only four copies that remain today. Something interesting is that the Magna Carta is not authenticated by the King’s signature; it is authenticated with the Great Seal. The Magna Carta by the Villeins was viewed as a breakthrough for the handful of liberties that they did have. It limited fines that could be posed against them; it also stopped officials from taking goods without payment or forcing them to perform hard labor.\n\nThe Magna Carta was and still is the influence for many Country Constitutions such as the Bill of Rights for the United States. I find it liberating that a group of people took the time to challenge such hierarchy and fought for simple liberties that we often take for granted today. It was remarkable and we should thank them because their foundation and struggle was the gateway to the shaping of our liberties.\n\nWork’s cited\n\nLibrary, British. \"Magna Carta, 1215.\" THE BRITISH LIBRARY - The World\'s Knowledge. Web. 09 Mar. 2011. &lt;http://www.bl.uk/&gt;.<img src=\"http://jeanatacc.com/2011/wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" />','Magna Carta, 1215 (The Great Charter)','','inherit','open','open','','630-revision','','','2011-03-09 20:58:23','2011-03-10 02:58:23','',630,'http://jeanatacc.com/2011/?p=633',0,'revision','',0),(634,7,'2011-03-09 20:56:59','2011-03-10 02:56:59','<p>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.[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 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\" class=\"size-full wp-image-623\" /></a>[/caption]\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.</p>\r\n<p>Frescoes 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. </p>\r\n<p>At 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 efforts of those 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[gallery]\r\nWith this a buffer protecting itself from the Muslims added to Charlemagne’s conquests, 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.<br />\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.”</p>\r\n<p>One 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. </p>\r\n<p>Charlemagne’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)<br />\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)<br />\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.    </p>\r\n<p>Jesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés<br />\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.<br />\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).  </p>\r\n<p>As 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.<br />\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.<br />\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)<br />\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.</p>\r\n<p>CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-6','','','2011-03-09 20:56:59','2011-03-10 02:56:59','',619,'http://jeanatacc.com/2011/?p=634',0,'revision','',0),(635,7,'2011-03-09 20:59:57','2011-03-10 02:59:57','<p>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[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 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\" class=\"size-full wp-image-623\" /></a>[/caption]\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.</p>\r\n<p>Frescoes 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. </p>\r\n<p>At 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 efforts of those 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[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 src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls-300x260.gif\" alt=\"\" width=\"300\" height=\"260\" class=\"size-medium wp-image-631\" /></a>[/caption]\r\nWith this a buffer protecting itself from the Muslims added to Charlemagne’s conquests, 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.<br />\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.”</p>\r\n<p>One 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. </p>\r\n<p>Charlemagne’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)<br />\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)<br />\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.    </p>\r\n<p>Jesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés<br />\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.<br />\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).  </p>\r\n<p>As 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.<br />\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.<br />\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)<br />\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.</p>\r\n<p>CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-7','','','2011-03-09 20:59:57','2011-03-10 02:59:57','',619,'http://jeanatacc.com/2011/?p=635',0,'revision','',0),(636,7,'2011-03-09 21:00:01','2011-03-10 03:00:01','<p>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. </p>\r\n<p>There 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.<br />\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 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\" class=\"size-full wp-image-623\" /></a>[/caption]<br />\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.</p>\r\n<p>Frescoes 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. </p>\r\n<p>At 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 efforts of those 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.<br />\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 src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls-300x260.gif\" alt=\"\" width=\"300\" height=\"260\" class=\"size-medium wp-image-631\" /></a>[/caption]<br />\r\nWith this a buffer protecting itself from the Muslims added to Charlemagne’s conquests, 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.<br />\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.”</p>\r\n<p>One 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. </p>\r\n<p>Charlemagne’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)<br />\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)<br />\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.    </p>\r\n<p>Jesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés<br />\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.<br />\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).  </p>\r\n<p>As 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.<br />\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.<br />\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)<br />\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.</p>\r\n<p>CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-8','','','2011-03-09 21:00:01','2011-03-10 03:00:01','',619,'http://jeanatacc.com/2011/?p=636',0,'revision','',0),(637,7,'2011-03-09 21:00:09','2011-03-10 03:00:09','<p>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. </p>\r\n<p>There 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.<br />\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 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\" class=\"size-full wp-image-623\" /></a>[/caption]<br />\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.</p>\r\n<p>Frescoes 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. </p>\r\n<p>At 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 efforts of those 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.<br />\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 src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls-300x260.gif\" alt=\"\" width=\"300\" height=\"260\" class=\"size-medium wp-image-631\" /></a>[/caption]<br />\r\nWith this a buffer protecting itself from the Muslims added to Charlemagne’s conquests, 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.<br />\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.”</p>\r\n<p>One 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. </p>\r\n<p>Charlemagne’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)<br />\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)<br />\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.    </p>\r\n<p>Jesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés<br />\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.<br />\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).  </p>\r\n<p>As 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.<br />\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.<br />\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)<br />\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.</p>\r\n<p>CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-9','','','2011-03-09 21:00:09','2011-03-10 03:00:09','',619,'http://jeanatacc.com/2011/?p=637',0,'revision','',0),(640,7,'2011-03-09 21:09:41','2011-03-10 03:09:41','','290px-Germigny_Des_Pres_2007_01','Germigny Des Pres\' dome ceiling','inherit','open','open','','290px-germigny_des_pres_2007_01-2','','','2011-03-09 21:09:41','2011-03-10 03:09:41','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_011.jpg',0,'attachment','image/jpeg',0),(638,7,'2011-03-09 21:05:36','2011-03-10 03:05:36','','450px-Loire_Loiret_Germigny_tango7174','Oratory at Germingny-des- Prés      ','inherit','open','open','','450px-loire_loiret_germigny_tango7174','','','2011-03-09 21:05:36','2011-03-10 03:05:36','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/450px-Loire_Loiret_Germigny_tango7174.jpg',0,'attachment','image/jpeg',0),(639,7,'2011-03-09 21:07:13','2011-03-10 03:07:13','','290px-Germigny_Des_Pres_2007_01','','inherit','open','open','','290px-germigny_des_pres_2007_01','','','2011-03-09 21:07:13','2011-03-10 03:07:13','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_01.jpg',0,'attachment','image/jpeg',0),(641,7,'2011-03-09 21:12:22','2011-03-10 03:12:22','','3406261069_523956a114','Plan view Oratory at Germingny-des- Prés      ','inherit','open','open','','3406261069_523956a114','','','2011-03-09 21:12:22','2011-03-10 03:12:22','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/3406261069_523956a114.jpg',0,'attachment','image/jpeg',0),(642,7,'2011-03-09 21:13:16','2011-03-10 03:13:16','','AaachenChapel','Plan view Palatine Chapel at Aachen','inherit','open','open','','aaachenchapel','','','2011-03-09 21:13:16','2011-03-10 03:13:16','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/AaachenChapel.png',0,'attachment','image/png',0),(643,7,'2011-03-09 21:26:49','2011-03-10 03:26:49','','images','Palatine Chapel view at side of oratory','inherit','open','open','','images-3','','','2011-03-09 21:26:49','2011-03-10 03:26:49','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/images.jpg',0,'attachment','image/jpeg',0),(644,7,'2011-03-09 21:29:41','2011-03-10 03:29:41','','Picture3','Palatine Chapel interior view','inherit','open','open','','picture3','','','2011-03-09 21:29:41','2011-03-10 03:29:41','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/Picture3.jpg',0,'attachment','image/jpeg',0),(645,7,'2011-03-09 21:37:07','2011-03-10 03:37:07','','600','Palatine Chapel image of Christ in dome ceiling','inherit','open','open','','600','','','2011-03-09 21:37:07','2011-03-10 03:37:07','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/600.jpg',0,'attachment','image/jpeg',0),(646,27,'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.<!--more-->\r\n\r\nPersonally 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\nThe 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\nRavenna 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\nThe 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\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','San Vitale, Ravenna','','publish','open','open','','646','','','2011-03-10 08:58:40','2011-03-10 14:58:40','',0,'http://jeanatacc.com/2011/?p=646',0,'post','',3),(647,27,'2011-03-09 21:43:44','2011-03-10 03:43:44','         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.\n\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).\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.\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.\n\n\n\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.\n           \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWorks Cited\nHayes, Holly. \"San Vitale Basilica - Ravenna, Italy.\" Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places. Web. 09 Mar. 2011. \nKnight, Kevin. \"CATHOLIC ENCYCLOPEDIA: Ravenna.\" NEW ADVENT: Home. Web. 09\n','','','inherit','open','open','','646-revision','','','2011-03-09 21:43:44','2011-03-10 03:43:44','',646,'http://jeanatacc.com/2011/?p=647',0,'revision','',0),(691,1,'2011-03-09 20:44:02','2011-03-10 02:44:02',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\r\n\r\n\r\nHello again, fellow Americans.  We will document that the year is 2100 A.D. The earth is still uninhabitable, as it was in our last meeting several months ago. Progress has been slow to develop tools that will enable inhabitants on planet Earth. We want to look again at items to preserve and serve as inspiration for our children. The legacy of our world is to be decided in the next few meetings. This task is of paramount importance. The second item I believe would be of utmost significance to future generations is, the lancet rose windows of Sainte-Chapelle in Paris, France. The lancet rose windows of the Sainte-Chapelle are the finest and most complete example of what we know today as classic Gothic architecture. . All facets of Gothic architecture are featured in the Sainte-Chappelle. The stained glass displayed here is the most impressive example available in the world. Some other examples of classic Gothic architecture here are stone sculpture, wood sculpture, painting, metalwork, enamels and ivories.\r\n\r\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \r\nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \r\n\r\nLancet windows are very narrow shape and high with an arch. It gets the name lancet from being shaped like the tip of a lance. Stained glass was thought to have started at least 5,000 years ago. The time of the lancet rose windows  was known as the golden age of stained glass. It is common knowledge that today only 10% of all stained glass is used in churches. This makes the Sainte-Chapelle windows an even more important example to preserve for the future of mankind. It was an engineering marvel. It was purported that engineers constructing Gothic cathedrals used a mathematical formula hidden in pages from the bible, similar to that of creating the universe. This idea is of major consequence for future generations to adapt, build and create. The Temple of Solomon has been compared to many Gothic buildings.  \r\n \r\nhttp://www.flickr.com/photos/22541241@N06/2582836127/\r\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \r\n\r\nThe Sainte-Chapelle was designed as a place of worship for the royal family, the court and its servants. The architect of the Sainte-Chapelle was thought to be Jean De Chelles, who designed the famous Notre-Dame. Another possible contributor to the chapel was Pierre De Montreuil, who was Jean’s pupil and rival. The original plan of the chapel was attributed to Pierre De Montreuil, who had also worked on the Royal Abbey of Saint-Denis and the Notre-Dame Cathedral.  The Sainte-Chapelle was purchased in 1239 by Louis IX from Baldwin II, Emperor of Constantinople. Louis IX acquired the Crown of Thorns, which was the inspiration for building Sainte-Chapelle. The emperor was thought to be desperate for cash, thus parting with such a precious relic. Two years after the purchase more relics were brought from Byzantium. Louis IX paid 40,000 livres to build the chapel. At the time, this was a very small amount of money. 135,000 livres was paid for the relics that were housed there. Note that it is more than triple the figure for the relics than for the building they were housed. The chapel underwent major restoration efforts begun in 1837 by Felix-Jacques Duban, Jean-Baptiste-Antoine Lassus and Viollet-le-Duc. The restorations were completed in 1863 by Emile Boeswillwald.\r\n \r\nhttp://www.flickr.com/photos/duncanc/131471204/\r\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \r\n\r\nSainte-Chapelle served a double purpose. The lower chapel served as a basement for storage of numerous precious religious artifacts. The upper chapel served as a place of worship. The upper chapel is comprised of richly hued stained glass windows. The windows comprise 600 square meters or 6456 square feet in area. The figures in the stained glass windows illustrate 1130 figures from the Bible. The fact that there are over 1100 figures is one of the main reasons that this building needs to be preserved. The story told by the windows is significant for religious, social and historical purposes. Blue floral mosaic patterns and red lattice shapes color the majority of the window panes. The dark blue panes emit an emotion of warmth and power. The crimson red panes emit an emotion of love and humanity. The upper chapel decorations adorning the walls include the old and new testament in stained glass, the history of the relics of the Passion in stained glass, statues of the apostles and enamel paintings of martyrs in a series of medallions.\r\n\r\n http://www.flickr.com/photos/oric1/3191545715/\r\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \r\n\r\n Numerous other western churches used the Sainte-Chapelle for its architectural model. Some examples you may be familiar with are the Bourg, Chartres, Beauvais the Notre-Dame and the Westminster Abbey. The most significant aspect of Gothic architecture evident in the Sainte-Chapelle is its use of the Rayonnant style in the stained glass windows. This style was a phase of architectural design involving reduced mass and scale. It is difficult to explain in words on paper. The visual of the windows themselves explains Rayonnant the best. It increased the importance of voids and intensified the complexity of trace patterns. Rayonnant developed for political, economic, religious and artistic reasons.  It has the look of very little metal or stone building, and very extensive use of glass in the space provided. The stained glass panes appear to be floating as a result of the construction techniques. Gothic architecture was different than others in its use of reaching for height. The height was representative of Gothic pride. The height created was an attempt by the people to be closer to God. Painstaking manual labor for thousands of man hours was involved to create the height seen in these windows. By calculating angles and weight and scale, builders could use more windows to convey a message, rather than how the exterior of the building impressed viewers. The Sainte-Chapelle’s most impressive characteristic is that of its stained glass windows. The windows cover virtually all of the wall areas and reach from near the floor almost to the ceiling. It was thought that occupants of the Sainte-Chapelle were made to feel that they were in a sacred space that transcended religious significance. Rayonnant style became a permanent feature of architecture after the time that the Sainte-Chapelle was built.\r\n \r\nhttp://www.flickr.com/photos/vt_professor/3670884128/\r\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \r\n\r\nGothic architecture was the prevalent style of the time of Louis IX. Many buildings and places of worship displayed various pieces and styles of the Gothic phase. Numerous other chapels in Paris in the 13th century display paintings or sculpture or enamels, which are good examples of the Gothic emphasis. What makes the Sainte-Chapelle special, unique and distinguishable is the fact that all pieces of the Gothic architecture of the time are encompassed there. The stained glass windows on display in Sainte-Chapelle are unlike any other anywhere else in the world. The building of the stained glass windows makes the ceiling seem to appear to float. Each window, divided into arches, reads from left to right and from top to bottom. The story of the Bible unfolds with each window pane.\r\n \r\nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\r\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \r\n\r\nIn contrast to the Sainte-Chapelle would be the Saint Germain Des Pres Chapel. The Sainte- Chapelle emphasizes its story telling in a vertical nature. The St-Germain des-Pres chapel tells its story horizontally. The Clermont Cathedral in central France was thought to have been inspired by the Sainte-Chapelle. Mimicry is the highest form of flattery. Copycats of the Rayonnant style were the Westminster Abbey, The Cologne Cathedral in Germany, and the Leon Cathedral in Spain. These 5 other buildings all took from the original. They all have their strengths and weaknesses in the realms of art, history, politics and religion. However, the Sainte-Chapelle, I believe, gives the most compelling evidence that it should be around for centuries to come.  The biggest reason the chapel should be kept is for the stained glass windows inside its walls. \r\n\r\n http://www.flickr.com/photos/bartpalka/4835794091/\r\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \r\n\r\nIn the 13th century the Sainte-Chapelle was perceived as a historical, religious, political and social phenomenon. The reason it was considered as such was because of the impact that the stained glass windows made on the people of Paris and the world. It was received with awe and revered by generations to follow. It was the focal point for the rulers of France. It brought together religion and royalty. It was said that Sainte-Chapelle was a result of Louis IX political ambition to be the central monarch of western Christendom. The workmanship in the stained glass windows conveys this ambition visually.\r\n \r\nhttp://www.flickr.com/photos/12152206@N03/3188777843/\r\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \r\n\r\nSainte-Chapelle in present day is one of the most adored , visited and researched buildings due to the fact that it is of such artistic value for our future. It also is critical for our architectural future due to it being the birth of the Rayonnant style as we know it today. It is paramount to our religious future in that it was home to the Crown of Thorns. The story of the bible is told through the stained glass window panes. According to the TripAdvisor website, the Sainte-Chapelle is the 3rd most popular site to visit in France out of 763 choices. Generations value its significance because it encompasses all aspects of the Gothic lifestyle. The windows are its most valuable asset.\r\n \r\nhttp://www.flickr.com/photos/29512749@N07/4235571358/\r\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \r\n\r\nI believe the lancet rose stained glass windows in the Sainte-Chapelle are the most unique and beautiful contained in a religious building of its kind. The fact that the stained glass windows exemplify the Bible’s story with such gorgeous lighted detail cannot be argued. The Sainte-Chapelle implements the use of grisaille. Grisaille is a fascinating and complex artform. It comes from French, meaning (to paint or make gray). Grisaille technique is common in stained glass, where the need for sections in different colours was greatly reduced. Portions of a window may be done in grisaille — using, silver stain or vitreous paint — while other sections are done in coloured glass. Silver stain, ironically, gives the glass a golden effect. This elegance and refinement of the grisaille technique in the Sainte-Chapelle were beyond compare even in contemporary illumination.  I believe Gothic architecture will be around for centuries to come. The Rayonnant style embodied in the stained glass rose windows is a perfect example of what a royal chapel should look like. I was in awe of the rich reds and burning blues used on the window panes throughout. The magnificence of each unit is difficult to put into words. Beauty like that of the lancet rose windows cannot be viewed anywhere else on Earth. Thus it is imperative that we keep this facility for our future.\r\n\r\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\r\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \r\n\r\nMy reason for nominating the stained glass windows of the  Sainte-Chapelle for future preservation is because it has importance on numerous levels. It is valuable in the architectural arena, due to the Rayonnant style and the classic Gothic architecture themes used throughout. It is important for religious purposes due to the fact that it housed the Crown of Thorns and its stained glass windows told the story of the Bible. The attention to detail and the craftsmanship of each stained glass window could be viewed as priceless on an individual level, not to mention the fact that they are all centrally located in one building in Paris, France. Two thirds of the pieces in the Sainte-Chapelle are original artworks representing the finest examples of 12th century craftsmanship. The grisaille technique implemented in the Sainte-Chapelle is yet another reason I am nominating this building for continued preservation. Its value in the area of politics is critical as well. It housed the royal family and was the central worship location in Paris. By taking the time, cost, thought and manpower to create this masterpiece, Louis IX became an icon of his time. Combining religion, politics, history and art in the Sainte-Chapelle makes it arguably the most valuable piece of workmanship that exists today.  Gothic architectures’ main focus was to create greater light and visual space. The example of the lancet rose stained glass windows of Sainte-Chapelle are the very best in the world that is still in existence. Nowhere else in the world can a visitor obtain the same feelings as being lifted up into a zone of space and light. The stained glass examples contained within the walls of the Sainte-Chapelle were a result of artists trying to keep up with stylistic standards established by artists in the realms of oil, ink and tempera. The coloring and attention to detail and toils of the artists in creating this masterpiece were meant to give a very truthful representation. It was meant to look as lifelike as possible. The color richness and abundance of light throughout this building make it gorgeous beyond words. I implore my fellow committee members to consider the lancet rose stained glass windows of the Sainte-Chapelle in Paris, France as a feature for humankind to adore, be awed, develop inspiration and realize religious significance for many, many years to come.  \r\n\r\n\r\n\r\nWORKS CITED\r\n\r\n\r\nSturm, James L. <em>Stained Glass from Medieval Times to the Present</em>. New York: E.P. Dutton, Inc., 1982. Print. \r\n\r\nBrisac, Catherine. <em>A Thousand Years of Stained Glass</em>. Garden City, New York: Doubleday &amp; Company, Inc, 1986. Print. \r\n\r\nKaye, Nicholas, Marcel Aubert, and Simone Goubet. <em>Gothic Cathedrals of France and their Treasures</em>. London, England: Adlard and Son, Ltd., 1959. Print. \r\n\r\n\"The Illuminated Church and the Rayonnant Style\". <em>Arts and Humanities Through the Eras.</em>\r\nEd. Edward I. Bleiberg, et al. \r\nVol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 45-49. <em>Gale Virtual Reference Library</em>. Web 3 Mar 2011\r\nhttp://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3427400409&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\nSheppard, Laurel M. \"Stained Glass.\" <em>How Products Are Made: An Illlustrated Guide to Product Manufacturing.</em> Ed. Kyung-Sun Lim. Vol. 2. Detroit: Gale Research, 1996. 423-428. <em>Gale Virtual Reference Library.</em> Web. 3 Mar. 2011\r\nhttp://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX2896600097&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\nWeiss, Daniel H. \" Architectural symbolism and the decoration of the Ste.-Chapelle.\" <em>Art Bulletin </em>77.2 (1995):308. <em>Masterfile Premier</em>. EBSCO. Web. 22 Feb. 2011\r\n\r\nhttp://www.discoverfrance.net/France/Cathedrals/Paris/Sainte-Chapelle\r\n\r\nhttp://www.sacred-destinations.com/france/paris-sainte-chapelle\r\n\r\nGiblin, J.C.. \" Miracles of color and light.\" <em>Cricket </em>18.10 (1991): 26. <em>Masterfile Premier.</em> EBSCO. Web. 22 Feb. 2011\r\n\r\nRaguin, Virginia Chieffo. \" The Isaiah Master of the Sainte-Chapelle in Burgundy.\" <em>Art Bulletin </em> 59.4 (1977) : 483. <em>Academic Search Complete</em>. EBSCO. Web.22 Feb. 2011\r\n','DONJAY','','inherit','open','open','','591-revision-21','','','2011-03-09 20:44:02','2011-03-10 02:44:02','',591,'http://jeanatacc.com/2011/?p=691',0,'revision','',0),(648,7,'2011-03-09 21:45:11','2011-03-10 03:45:11','','xti_6876','exterior view of Germingny-des-Pres oratory','inherit','open','open','','xti_6876','','','2011-03-09 21:45:11','2011-03-10 03:45:11','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6876.jpg',0,'attachment','image/jpeg',0),(649,7,'2011-03-09 21:41:27','2011-03-10 03:41:27','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.\n\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.\n\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]\n\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.\n\n&nbsp;\n\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.\n\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.\n\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]\n\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.\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.”\n\n&nbsp;\n\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.\n\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)\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)\n\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]\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\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]\n\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]\n\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.\n\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]\n\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]\n\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.\n\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]\n\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]\n\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).\n\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.\n\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.\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)\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.\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">CITED WORKS</p>\nTrachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz\n\nhttp://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926\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)\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-10','','','2011-03-09 21:41:27','2011-03-10 03:41:27','',619,'http://jeanatacc.com/2011/?p=649',0,'revision','',0),(652,7,'2011-03-09 21:49:01','2011-03-10 03:49:01','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-13','','','2011-03-09 21:49:01','2011-03-10 03:49:01','',619,'http://jeanatacc.com/2011/?p=652',0,'revision','',0),(650,7,'2011-03-09 21:46:23','2011-03-10 03:46:23','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.\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\n&nbsp;\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\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\n&nbsp;\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\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&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\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\n&nbsp;\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-11','','','2011-03-09 21:46:23','2011-03-10 03:46:23','',619,'http://jeanatacc.com/2011/?p=650',0,'revision','',0),(651,7,'2011-03-09 21:46:31','2011-03-10 03:46:31','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\n&nbsp;\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\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\n&nbsp;\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\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&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\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\n&nbsp;\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-12','','','2011-03-09 21:46:31','2011-03-10 03:46:31','',619,'http://jeanatacc.com/2011/?p=651',0,'revision','',0),(654,7,'2011-03-09 21:51:36','2011-03-10 03:51:36','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-15','','','2011-03-09 21:51:36','2011-03-10 03:51:36','',619,'http://jeanatacc.com/2011/?p=654',0,'revision','',0),(653,7,'2011-03-09 21:49:05','2011-03-10 03:49:05','<p>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.</p>\r\n<p>There 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.</p>\r\n<p>[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]</p>\r\n<p>Inspired 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.</p>\r\n<p>Frescoes 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.</p>\r\n<p>At 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.</p>\r\n<p>[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]</p>\r\n<p>This 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.</p>\r\n<p>Architectural 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.”</p>\r\n<p>One 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.</p>\r\n<p>Charlemagne’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)</p>\r\n<p>The 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)</p>\r\n<p>[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]</p>\r\n<p>[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]</p>\r\n<p>[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]</p>\r\n<p>[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]</p>\r\n<p>Comparing 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.</p>\r\n<p>[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]</p>\r\n<p>[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]</p>\r\n<p>As 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.</p>\r\n<p>[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]</p>\r\n<p>[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]</p>\r\n<p>The 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).</p>\r\n<p>As 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.</p>\r\n<p>As 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.<br />\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)<br />\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.</p>\r\n<p>&nbsp;</p>\r\n<p>&nbsp;</p>\r\n<p style=\"text-align: center\">CITED WORKS</p>\r\n<p>Trachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.<br />\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20<br />\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz</p>\r\n<p>http://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)<br />\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.<br />\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.<br />\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974<br />\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999<br />\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926<br />\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)<br />\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766</p>\r\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-14','','','2011-03-09 21:49:05','2011-03-10 03:49:05','',619,'http://jeanatacc.com/2011/?p=653',0,'revision','',0),(655,7,'2011-03-09 21:51:43','2011-03-10 03:51:43','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-16','','','2011-03-09 21:51:43','2011-03-10 03:51:43','',619,'http://jeanatacc.com/2011/?p=655',0,'revision','',0),(656,7,'2011-03-09 21:51:58','2011-03-10 03:51:58','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-17','','','2011-03-09 21:51:58','2011-03-10 03:51:58','',619,'http://jeanatacc.com/2011/?p=656',0,'revision','',0),(658,30,'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). <!--more-->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.\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','','publish','open','open','','the-chartres-cathedral','','','2011-03-10 08:56:55','2011-03-10 14:56:55','',0,'http://jeanatacc.com/2011/?p=658',0,'post','',5),(659,30,'2011-03-09 22:07:13','2011-03-10 04:07:13','Version:1.0 StartHTML:0000000178 EndHTML:0000004120 StartFragment:0000002405 EndFragment:0000004084 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP2             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.ssens {  }div.Section1 { page: Section1; }\n\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-->','The Chartres Cathedral','','inherit','open','open','','658-revision','','','2011-03-09 22:07:13','2011-03-10 04:07:13','',658,'http://jeanatacc.com/2011/?p=659',0,'revision','',0),(660,30,'2011-03-09 22:09:36','2011-03-10 04:09:36','The 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-->There 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.\n\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).\n\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).\n\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.\n\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.\n\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).\n\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.\n\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.\n\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.\n\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.\n\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.\n\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.\n\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.\n\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.\n\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.\n\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”).\n\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.\n\n&nbsp;\n\nWorks Cited\n\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.\n\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.\n\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.”\n\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.”\n\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.\n\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.\n\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;.\n\n&nbsp;\n\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.\n\n&nbsp;\n\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.”\n\n&nbsp;\n\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.”\n\n&nbsp;\n\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-2','','','2011-03-09 22:09:36','2011-03-10 04:09:36','',658,'http://jeanatacc.com/2011/?p=660',0,'revision','',0),(661,30,'2011-03-09 22:09:49','2011-03-10 04:09:49','The 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-->There 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\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\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\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-3','','','2011-03-09 22:09:49','2011-03-10 04:09:49','',658,'http://jeanatacc.com/2011/?p=661',0,'revision','',0),(662,30,'2011-03-09 22:14:42','2011-03-10 04:14:42','','chartrestext','','inherit','open','open','','chartrestext','','','2011-03-09 22:14:42','2011-03-10 04:14:42','',658,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/chartrestext.png',0,'attachment','image/png',0),(663,30,'2011-03-09 22:18:36','2011-03-10 04:18:36','','saintchapelle','','inherit','open','open','','saintchapelle','','','2011-03-09 22:18:36','2011-03-10 04:18:36','',658,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/saintchapelle.png',0,'attachment','image/png',0),(664,30,'2011-03-09 22:20:19','2011-03-10 04:20:19','','stained glass','','inherit','open','open','','stained-glass','','','2011-03-09 22:20:19','2011-03-10 04:20:19','',658,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/stained-glass.png',0,'attachment','image/png',0),(665,30,'2011-03-09 22:22:51','2011-03-10 04:22:51','<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>\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-->\n\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.\n\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).\n\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).\n\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.\n\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.\n\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).\n<p style=\"text-align: center\">http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13029.png</p>\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.\n\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.\n\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.\n\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.\n\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 fro<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>nt 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.\n\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.\n\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.\n\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.\n\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.\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>\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”).\n\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.\n\n&nbsp;\n\nWorks Cited\n\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.\n\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.\n\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.”\n\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.”\n\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.\n\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.\n\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;.\n\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.\n\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.”\n\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.”\n\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-4','','','2011-03-09 22:22:51','2011-03-10 04:22:51','',658,'http://jeanatacc.com/2011/?p=665',0,'revision','',0),(666,30,'2011-03-09 22:24:52','2011-03-10 04:24:52','','churchlingo','','inherit','open','open','','churchlingo','','','2011-03-09 22:24:52','2011-03-10 04:24:52','',658,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/churchlingo.png',0,'attachment','image/png',0),(667,30,'2011-03-09 22:25:15','2011-03-10 04:25:15','<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>\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-->\n\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.\n\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).\n\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).\n\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.\n\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.\n\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).\n\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.\n\n<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>\n\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.\n\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.\n\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.\n\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.\n\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>\n<p style=\"text-align: center\">http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13029.png</p>\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.\n\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.\n\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.\n\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.\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>\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”).\n\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.\n\n&nbsp;\n\nWorks Cited\n\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.\n\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.\n\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.”\n\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.”\n\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.\n\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.\n\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;.\n\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.\n\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.”\n\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.”\n\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-5','','','2011-03-09 22:25:15','2011-03-10 04:25:15','',658,'http://jeanatacc.com/2011/?p=667',0,'revision','',0),(668,30,'2011-03-09 22:25:46','2011-03-10 04:25:46','<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-6','','','2011-03-09 22:25:46','2011-03-10 04:25:46','',658,'http://jeanatacc.com/2011/?p=668',0,'revision','',0),(669,30,'2011-03-09 22:27:15','2011-03-10 04:27:15','<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>\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-->\n\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.\n\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).\n\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).\n\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.\n\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.\n\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).\n\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.\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>\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.\n\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.\n\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.\n\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.\n\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>\n<p style=\"text-align: center\">http://textflow.mcgraw-hill.com//figures/0073523976/fie23976_13029.png</p>\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.\n\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.\n\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.\n\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.\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>\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”).\n\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.\n\n&nbsp;\n\nWorks Cited\n\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.\n\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.\n\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.”\n\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.”\n\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.\n\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.\n\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;.\n\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.\n\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.”\n\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.”\n\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-autosave','','','2011-03-09 22:27:15','2011-03-10 04:27:15','',658,'http://jeanatacc.com/2011/?p=669',0,'revision','',0),(715,37,'2011-03-20 21:06:49','2011-03-21 03:06:49','TCP#2: San Vitale, Ravenna\r\n\r\nThe San Vitale Basilica or Basilica di San Vitale is located in the city of Ravenna in Italy which is a city located in the central part of Italy. The San Vitale Basilica construction started by the Bishop of Ravenna name Ecclesius after he returned from a trip from Byzantium where he met with Pope John in 526.  The construction of the Basilica Started in the site where the martyrdom of ST. Vitalis occurred and the basilica project was almost entirely funded by a wealthy person at that time named Julianus Argentarius who was a powerful person in Ravenna. The name of the architect of the basilica remains unknown till this day but it is important to mention that the basilica construction started during the time where the Goths were in control of Ravenna but the basilica was later finished during the times where the Byzantine rule Ravenna around 548 (Bovini).<!--more-->\r\n\r\nThe Basilica of San Vitale is fascinating in its design and structure because it is not purely a byzantine building or a Christian building, but it is a combination of both the Roman style and the byzantine style, which make it unique in appearance and beauty. The exterior of the Basilica of San Vitale is an octagonal structure composed with a small dome, which was typical of Byzantine architecture, also the octagonal plan have two stories closing a central space beneath a great cupola. Another characteristic of the exterior is that there is a porch attached at an angle in the west side of the structure and to the east there is a small choir and apse. The interior of the Basilica of San Vitale is decorated with 18<sup>Th</sup> century murals like in the cupola but the rest of the interior is decorated in a byzantine style, also one of the most notorious part of the interior of the Basilica are the Byzantine mosaics that are located in the ceilings of the choir and apse (Garotti).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale.jpg\"><img class=\"alignleft size-medium wp-image-716\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n\r\nThere is an arch that establishes the entrance to the presbytery and that part is decorated with mosaics that depict Christ, the apostles and some saints. The Presbytery or the Choir has many mosaics and its ceilings and walls have mosaics representing the Eucharist service, the left wall of the presbytery is characterized by mosaics representing the life of Abraham and the mosaics present stories like the one that Abraham is close to sacrifice his son in order to follow God wishes. On the right wall of the Presbytery is characterized by mosaics depicting Moses and some prophets, most of the mosaics have some sort of animals accompanying the main characters of the mosaics. Then there is the Presbytery vault, which is decorated with brilliant gold, green, blue colors and with small animals. Then there\r\n\r\n<a href=\"http://famouswonders.com/basilica-of-san-vitale/\">http://famouswonders.com/basilica-of-san-vitale/</a>\r\n\r\nare the apse mosaics that dated from 526-547 AD and presents a full shave Jesus with San Vitale flanking him and with Bishop Ecclesius and a couple of angels, Also some mosaics depict emperor Justinian who was one of the biggest emperor of the Byzantine empire (MacDonald).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa.jpg\"><img class=\"aligncenter size-medium wp-image-717\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://picasaweb.google.com/lh/photo/7JCIjgN5CmMt7zR78tg12A\">http://picasaweb.google.com/lh/photo/7JCIjgN5CmMt7zR78tg12A</a></p>\r\nThe 6<sup>Th</sup> century period is characterized by the fall of the Roman Empire and this period represents a point of changes and devastation especially in the Roman Empire. During this period one main characteristic was the spread of Catholicism in the west and dethroned Arianism as the main religion in the west. In a way that allows more unity regarding religion and the 6<sup>th</sup> is described as the period of a great emperor named Justinian. During this period Italy was in ruins and many people die to the devastation and war that lasted many years, also the roman empire suffer from the devastation of earthquakes and the invasion of other empires like the Persians. One huge event I think for this period is what happened from all this devastation and that was basically that the population dropped dramatically in Rome below 100,000 and also another aspect is that Latin lost some traction in society and Greek became very preponderant in some parts. During the 6<sup>th</sup> century the Byzantine empire led by emperor Justinian the Great who came to power in AD 527 and returned the glory to the empire by making some changes in the way the legal system and how things were administered in the empire and also emperor Justinian allow and promote the construction of many churches and many mosaics that ended up promoting Christianity. Emperor Justinian was married to a famous ex-courtesan name Theodora and one of their mosaic where both appear facing each other is located in the Basilica of San Vitale. Theodora play a big role in governing the empire and in the making of the important decisions and is she is attributed with helping emperor Justinian made the decision of staying in Constantinople when there was a revolt in AD 532. In AD 537 architects working on the church of Santa Sofia made great developments in construction by being able to place a dome on top of a square formed of four arches. Another development during this period was the promotion of many reforms in the way the civil services were administered with the idea that corruption should be controlled and also with the idea of how to better collected the tax, these measures at the beginning were very unpopular because many did not wanted any change, only after many years pass by the reforms made by Justinian promote are seen as innovative and important. Another development conducted by emperor Justinian was the appointment of a commission of ten men that were in charged of checking was happened during past administrations so in way they were fiscalizing previous governments. Also the commission was in charge of giving a pure version of the constitution and they did by publishing what is known as the Codex  Constitutionum  which is basically a constitution that was published in AD 529. Later in AD 534 the constitutions was modified by a new text named Digesta  which became the new codex. The Codex of AD 534 is what is currently known as the Justinian code of law and consists basically of 12 books with more than 4,000 laws (Ostrogorsky).\r\n\r\nThe early Christian architecture involved the construction of two types of buildings: the basilicas that were designed for worship and as a place for people to meet and the other type of buildings were the martyrium which served as a place where people that have died could be venerated. Some of the main characteristics of Byzantine art are the idea that things should go out of the ordinary and into the extraordinary. In architecture there was a focus for aesthetic detail like for example the use of walls that are supposed to look like curtains and that are supporting a dome and also the use of marble and gold was very common in byzantine art. Byzantine art had an especial focus on Christian ideas and also the decoration of buildings particularly inside them was very detail oriented and with many ornaments. The greatest building in the Byzantine Empire was Hagia Sophia, which is also known as the church of the divine wisdom in Constantinople that was build by emperor Justinian. During the 6<sup>th</sup> century many developments happened in mathematics and also in art to a degree that the period is consider a golden age for byzantine art. For example the architect of the basilica of Hagia Sophia named Anthemius mentioned that architecture needed the use of mathematics in order to transform the solid matter and molded into spectacular shapes. Byzantine art also used materials considered the best at that time like granite and marble, the structures were also full of mosaics like the ones present in the Basilica of San Vitale in Ravenna (Cormack).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128.jpg\"><img class=\"aligncenter size-medium wp-image-719\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://www.sacred-destinations.com/italy/ravenna-san-vitale-photos/slides/xti_6456pae2\">http://www.sacred-destinations.com/italy/ravenna-san-vitale-photos/slides/xti_6456pae2</a></p>\r\nAccording to Krautheimer The Basilica of San Vitale is he only building or structure outside of Constantinople that really approaches the level of elegance and sophistication of the Byzantine structures like Hagia Sophia. Usually when people talk about the basilica of San vitale they do it because it offers a way to determine the main characteristics of Byzantine buildings and also the basilica serves as a way to analyze western imperial designs. The design of the Basilica of San Vitale was inspired by the design of the basilica of Hagia Sophia in Constantinople and one of the main purposes for the developing of the Basilica of San Vitale at the beginning was to have a building that surpass by far any other building in the west especially the Arian Cathedral known as San Apollonaire Nuovo that was built by Theodoric. The design of the Basilica of San Vitale is more simplistic that the one of the basilica of Hagia Sophia but it has a complexity in the volumes and the spatial vistas, for example the interior of the basilica is complex with many overlapping vistas that have no comparison not even in Constantinople, which made the Basilica of san Vitale as one of the Great buildings in the west during the 6<sup>th</sup> century.\r\n\r\nIn my opinion the Basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century because of its sheer beauty and the incredible mosaics. Although I have not visited the basilica in person I can tell that the mixture of roman architecture like the doomed roof or the arches in doorways and Byzantine architecture like the polygonal shapes use and detailed of the work make the basilica a unique building not only in the 6<sup>th</sup> century but also till this day. Another aspect that in my opinion is interesting is symbolism and the sacred objects used in the basilica, for example, there are many mosaics that depict events from the Old Testament like the story of Abraham, the story of Cain and Abel among some of them. Another aspect that can put into perspective of how important the Basilica was at the time of its creation is that according to my research during the splendor of the Byzantine Empire many people travel to Ravenna that was a big city in the empire in order to witness such an extraordinary structure. In a way the basilica is more than a marvelous structure and building but also a place where people can look and traced back some of the roots and ideas of one of the biggest empires the world have ever seen.\r\n\r\n<strong>Works Cited</strong>\r\n\r\n-Krautheimer, Richard. Early Christian and Byzantine Architecture. Baltimore: Penguin Books. 1965\r\n\r\n-Bovini, Guiseppe. Ravenna: Art and History . Publisher: Longo (1978)\r\n\r\n-Ostrogorsky, George. History of the Byzantine State. Rutgers.The State University of New Jersey. 1997\r\n\r\n-MacDonald,  L. William. Early Christian and Byzantine architecture. New York . 1962\r\n\r\n-Garotti. G. A History of Art. Volume 2. Publisher: E.P Dutton . New York. 1909\r\n\r\n-Cormack, robin. Byzantine Art (Oxford History of Art). Oxford university Press. 2000.','San Vitale Basilica, Ravenna (TCP#2)','','publish','open','open','','san-vitale-basilica-ravenna-tcp2','','','2011-04-11 13:40:50','2011-04-11 19:40:50','',0,'http://jeanatacc.com/2011/?p=715',0,'post','',9),(671,31,'2011-03-09 22:48:27','2011-03-10 04:48:27','&nbsp;\r\n\r\n<a href=\"http://www.sacred-destinations.com/france/paris-sainte-chapelle\"><img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" /></a><strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the crown of thorns<strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for 135,000 livres; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the True Cross was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\r\n\r\n&nbsp;\r\n\r\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\r\n\r\n&nbsp;\r\n\r\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\r\n\r\n&nbsp;\r\n\r\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\r\n\r\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\r\n\r\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\r\n\r\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\r\n\r\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\r\n\r\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\r\n\r\n&nbsp;','La Sainte-Chapelle (The Holy Chapel)','','publish','open','open','','la-sainte-chapelle-the-holy-chapel','','','2011-03-23 13:33:33','2011-03-23 19:33:33','',0,'http://jeanatacc.com/2011/?p=671',0,'post','',11),(672,31,'2011-03-09 22:43:28','2011-03-10 04:43:28','','sainte chapelle','','inherit','open','open','','sainte-chapelle','','','2011-03-09 22:43:28','2011-03-10 04:43:28','',671,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle.jpg',0,'attachment','image/jpeg',0),(673,31,'2011-03-09 22:45:21','2011-03-10 04:45:21','Sainte Chapelle\n\n<img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" />\n\n<strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\n\n<!--more-->\n\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the <strong>crown of thorns</strong><strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for <strong>135,000 livres</strong>; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the <strong>True Cross</strong> was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\n\n&nbsp;\n\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\n\n&nbsp;\n\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\n\n&nbsp;\n\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\n\nWorks Cited\n\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\n\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\n\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\n\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\n\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\n\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\n\n&nbsp;','','','inherit','open','open','','671-revision','','','2011-03-09 22:45:21','2011-03-10 04:45:21','',671,'http://jeanatacc.com/2011/?p=673',0,'revision','',0),(674,31,'2011-03-09 22:46:29','2011-03-10 04:46:29','Sainte Chapelle\n\n<img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" />\n\n<strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\n\n<!--more-->\n\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the crown of thorns<strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for 135,000 livres; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the True Cross was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\n\n&nbsp;\n\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\n\n&nbsp;\n\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\n\n&nbsp;\n\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\n\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\n\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\n\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\n\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\n\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\n\n&nbsp;','','','inherit','open','open','','671-revision-2','','','2011-03-09 22:46:29','2011-03-10 04:46:29','',671,'http://jeanatacc.com/2011/?p=674',0,'revision','',0),(675,31,'2011-03-09 22:47:10','2011-03-10 04:47:10','Sainte Chapelle\r\n\r\n<img class=\"size-medium wp-image-672 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/sainte-chapelle-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" />\r\n\r\n<strong>La Sainte-Chapelle</strong><strong> </strong>(<strong>The Holy Chapel</strong>) was built in 1948, it took just two years to make.  SainteChapelle was part of Palais de Justice (once the royal palace), it was built by Pierre de Montreuil (1243–46) for Louis IX (St. Louis) to enshrine the Crown of Thorns and other sacred relics brought back from the Crusades. (Sainte-Chapelle). The chapel consists of two chapels, one on top of the other, and a spire. The upper level chapel consists of 15 elegant stain glass windows, which the chapel is known for. Its marveling beauty challenged the cathedrals of its time. I hope for future generations this building still stands because of its dazzling architecture.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nKing Louis was unlike many devout aristocrats, who regularly swiped sacred relics; the saintly Louis bought his for a hefty sum. In 1239, he purchased the crown of thorns<strong> </strong>from the impoverished Latin emperor at Constantinople, Baldwin II, for 135,000 livres; the entire chapel, by contrast, cost 40,000 livres to build. A piece of the True Cross was added, along with other relics, making Sainte-Chapelle a valuable reliquary. ( Sainte-Chapelle - Paris,) immediately after obtaining the relics Louis decided the blueprints to construct a house worthy for the sacred relics and by 1946 ground was broken. This is unusual for its time because most holy buildings where more of a display of rulers power, and where meant to show off status. (Tiffany) However King Louis wanted to be seen as the holiest of Kings.  Today the same Crown of Thorns is thought to live in the Notre Dame de Paris. It is hard to say now if this was the actual crown of thorns because the definition of relic is used loosely in the passion. A first class relic can mean it has the saviors’ blood, or has part of the body of <span style=\"text-decoration: underline\">a</span> saint.  A second class relic is made from a piece of the original crown of thorns or used/touched by a saint. Third class relics are considered relics if they come in contact with a first class crown. So many relics are in circulation and it is very hard to tell if Louis relic was ever a first class relic, or Jesus’ crown of thorns at all because it was reportedly sold to him. (what) This makes things interesting because this fact must have been known by King Louis IX. First class relics are never meant to be sold. It is wrong to sell relics of the first class. (Relics) This could mean that Sainte Chapelle was built as a political display. King Louis wanted to be seen as the holiest king and at the time France was being seen as the new holy land. The King had to embody his countries new image somehow. The crusaded and the relics and cathedral and chapels where all just a display of holyness, which makes sense considering that most cathedrals where built as a show of the city’s power or status, and would make sense that the country later revolted and went through an anti-religious phase, during the French Revolution. People were mad at the king and other political figures at the time because they were getting taxed heavily for the debt their rulers created all because they wanted to create a show of who was holiest in France. Regardless of the authenticity of the crown of thorns that King Louis was never buried in Sainte Chapelle or buried with his relics, which builds a larger case for the authenticity of his “treasures”.\r\n\r\n&nbsp;\r\n\r\nAt the time of which Sainte Chapelle was made people of the time lived in small, dark, bulky, stone buildings so when these cathedrals where made it was like walking into another world for them. (Tiffany) In the time cathedrals and Siante Chapelles where made, stained glass and was used to express god. Light was thought to be an expression of god, and in respect made the building holy. The stained glass usually displayed pictures of the stories in the bible to help the masses understand the stories in bible because many could not read. The glass also held another purpose in Sainte Chapelle and the cathedrals. It helped work as a support for the tall arching ceilings and arches.\r\n\r\n&nbsp;\r\n\r\nMany holy buildings of the time where made according to the measurements given by the bible. Sainte Chapelle was more than likely made with the same measurements given in the bible, even though it was much smaller than the cathedrals that it is usually compared to , or mistakenly thought to be one. As Steven Murray an expert on the gothic cathedrals explains, “the biblical description, I think, that had the greatest impact of all upon the builders was the description of Heaven itself, the Celestial City. And the text, the reading, I think, that would certainly come to mind was the end of the New Testament Book of Revelation, Chapter 21, where Saint John the Divine doesn\'t just see Heaven, but actually measures Heaven with the golden measuring rod that the angel gives him, and discovers this number of 144 cubits. Heaven is 144 cubits wide, 144 long, and 144 cubits high. So numbers like this must have resonated in the minds of the builders and the users of Gothic cathedrals.” (PBS) The measurements for the cathedrals and other holy structures where measured in different units, the Amien Chathedral used a roman foot. Sainte Chapelle most likely used a different unit of measurement to meet the godly dimensions presented in the bible since it housed such sacred items. It could have also used the other dimensions like Solomon’s Temple which makes sense because the Notre Dame de Paris which was built around the same time, and was another royal building, used dimensions given by the bible said to be the dimensions for Solomon’s Temple. Unlike Notre Dame or Amien Sainte Chapelle was never meant for the public to visit.\r\n\r\n&nbsp;\r\n\r\nPeople today still feel it is dazzling and breathtaking. It still has the same effect in bringing you into another world. People today, who see the Sainte Chapelle museum for the first time, still stand in awe. (Tiffany) I personally feel it is beautiful, but unfortunately I believe I do not understand the full effect of Sainte Chapelle’s chapel because I have not gone to see it. I hope it still stands for me and future generations to see because I do not feel you can truly get the same effect of the chapel’s beauty unless you have set foot in it. I do not believe any picture can produce the same effect, as stepping foot into its medieval past. If the building was ever destroyed I hope future generations would pass on that Sainte Chapelle stood for a symbol. It represented the holiness of King Loius the IX and how devoted to the faith he was.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\"Sainte-Chapelle.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 5 Mar. 2011.\r\n\r\n\"Sainte-Chapelle - Paris, France.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 8 Feb. 2010. 06 Mar. 2011. &lt;http://www.sacred-destinations.com/france/paris-sainte-chapelle&gt;.\r\n\r\n\"What Every Catholic Needs to Know About Relics! | Cukierski.net/relicexplanation.shtml - Specializing in Catholic Sacramentals.\" <em>The Cukierski Family</em>. Web. 06 Mar. 2011. &lt;http://www.cukierski.net/library/relicexplanation.shtml&gt;.\r\n\r\n\"Relics and the Incorruptibles.\" <em>Fish Eaters: The Whys and Hows of Traditional Catholicism</em>. Web. 09 Mar. 2011. &lt;http://www.fisheaters.com/relics.html&gt;.\r\n\r\nTiffany, Scott. \"Building the Great Cathedrals.\" <em>Nova</em>. Nova, 19 Oct. 2010. Web. 9 Mar. 2011. &lt;http://www.pbs.org/wgbh/nova/ancient/building-gothic-cathedrals.html&gt;.\r\n\r\nPBS. <em>Sacred Architecture</em>. Cond. Stephen Murray. Rec. 21 Oct. 2010. David Levin, 2010. MP3\r\n\r\n&nbsp;','','','inherit','open','open','','671-revision-3','','','2011-03-09 22:47:10','2011-03-10 04:47:10','',671,'http://jeanatacc.com/2011/?p=675',0,'revision','',0),(677,29,'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\nhttp://deitchman.com/mcneillslides/images/maestacimabue.jpg\r\n\r\n&nbsp;\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\nhttp://4.bp.blogspot.com/_N6IFoS5MzpI/TPwIM5suC3I/AAAAAAAAAPw/CKuXkRaf6HY/s1600/giotto-lamentation.jpg\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','','publish','open','open','','the-madonna-enthroned-cimabue','','','2011-03-12 11:04:03','2011-03-12 17:04:03','',0,'http://jeanatacc.com/2011/?p=677',0,'post','',12),(678,29,'2011-03-09 22:55:25','2011-03-10 04:55:25','Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-1290. Tempera on wood, 12\' 7\" x 7\' 4\". Galleria degli Uffizi, Florence (Gardner\'s Art Through the Ages, 2005)','CIMABUE','','inherit','open','open','','cimabue','','','2011-03-09 22:55:25','2011-03-10 04:55:25','',677,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE.jpg',0,'attachment','image/jpeg',0),(679,29,'2011-03-09 22:56:02','2011-03-10 04:56:02','Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-1290. Tempera on wood, 12\' 7\" x 7\' 4\". Galleria degli Uffizi, Florence (Gardner\'s Art Through the Ages, 2005)','CIMABUE','The \"Madonna Enthroned\" ','inherit','open','open','','cimabue-2','','','2011-03-09 22:56:02','2011-03-10 04:56:02','',677,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/CIMABUE1.jpg',0,'attachment','image/jpeg',0),(680,29,'2011-03-09 22:59:38','2011-03-10 04:59:38','','giotto','\"The Lamentation of Christ\"','inherit','open','open','','giotto','','','2011-03-09 22:59:38','2011-03-10 04:59:38','',677,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/giotto.jpg',0,'attachment','image/jpeg',0),(681,29,'2011-03-09 22:59:00','2011-03-10 04:59:00','[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\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.\n\n<!--more-->\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 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.\n\nWorks Cited\n\n Art: 2,500 Works, Cave to Contemporary. DK Publishing, New York 2008. Pg 85. Print.\n\n Enclyclopedia of World Art Vol  III. Calder- Cosmology. Mcgraw- Hill Book,  London. 1960. Pg 614-619. Print.\n\n Fiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\n Matthews, Thomas F. “Byzantium: From Antiquity to the Renaissance.” Calman &amp; King Ltd, New York, 1998. Print.\n\n Turner, 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-revision','','','2011-03-09 22:59:00','2011-03-10 04:59:00','',677,'http://jeanatacc.com/2011/?p=681',0,'revision','',0);
