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INSERT INTO `wp_posts` VALUES (584,25,'2011-03-09 17:07:20','2011-03-09 23:07:20','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\n\n<!--more-->\n\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\n\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\n\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\n&nbsp;\n\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\n\n&nbsp;\n\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\n\n&nbsp;\n\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\n\n&nbsp;\n\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\n\n&nbsp;\n\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\n\n&nbsp;\n\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-5','','','2011-03-09 17:07:20','2011-03-09 23:07:20','',552,'http://jeanatacc.com/2011/?p=584',0,'revision','',0),(583,25,'2011-03-09 17:04:00','2011-03-09 23:04:00','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\r\n\r\n<!--more-->\r\n\r\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\r\n\r\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\r\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\r\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\r\n\r\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\r\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\r\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\r\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\r\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\r\n&nbsp;\r\n\r\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\r\n\r\n&nbsp;\r\n\r\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-4','','','2011-03-09 17:04:00','2011-03-09 23:04:00','',552,'http://jeanatacc.com/2011/?p=583',0,'revision','',0),(585,25,'2011-03-09 17:16:10','2011-03-09 23:16:10','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\n\n<!--more-->\n\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\n\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\n\n<a title=\"Valencia, Spain Gargoyle\" href=\"http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg\" target=\"_blank\">http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg</a>\n\n&nbsp;\n\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\n&nbsp;\n\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\n\n&nbsp;\n\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\n\n&nbsp;\n\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\n\n&nbsp;\n\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\n\n&nbsp;\n\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\n\n&nbsp;\n\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-6','','','2011-03-09 17:16:10','2011-03-09 23:16:10','',552,'http://jeanatacc.com/2011/?p=585',0,'revision','',0),(586,25,'2011-03-09 17:16:20','2011-03-09 23:16:20','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\r\n\r\n<!--more-->\r\n\r\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\r\n\r\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\r\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\r\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\r\n\r\n<a title=\"Valencia, Spain Gargoyle\" href=\"http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg\" target=\"_blank\">http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg</a>\r\n\r\n&nbsp;\r\n\r\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\r\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\r\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\r\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\r\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\r\n&nbsp;\r\n\r\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\r\n\r\n&nbsp;\r\n\r\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-7','','','2011-03-09 17:16:20','2011-03-09 23:16:20','',552,'http://jeanatacc.com/2011/?p=586',0,'revision','',0),(587,25,'2011-03-09 17:18:20','2011-03-09 23:18:20','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\r\n\r\n<!--more-->\r\n\r\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\r\n\r\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\r\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\r\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\r\n\r\n<a title=\"Valencia, Spain Gargoyle\" href=\"http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg\" target=\"_blank\">http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg</a> -Photo of the Valencia, Spain Gargoyle\r\n\r\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\r\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\r\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\r\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\r\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\r\n&nbsp;\r\n\r\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\r\n\r\n&nbsp;\r\n\r\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-8','','','2011-03-09 17:18:20','2011-03-09 23:18:20','',552,'http://jeanatacc.com/2011/?p=587',0,'revision','',0),(588,25,'2011-03-09 17:19:14','2011-03-09 23:19:14','While strolling through Paris, France, one may look up in awe at the beauty of the cathedral of Notre Dame but from above, multiple pairs of eyes mysteriously stare down at anyone below. The eyes belong to different beast and creatures that have sculpted society’s view of life. These stone structures are known as gargoyles.\r\n\r\n<!--more-->\r\n\r\nThe 12<sup>th</sup> century was a time and place for impressive historical change in Europe (Snyder). Especially in France, a new period of time was emerging which is know as the Gothic Age. During the Gothic Age, Christianity and the church were being built unlike anything anyone had seen before.  Instead of solid Greek like temples for worship, the cathedrals were, “An engineer’s grandiose dream of thrust and counterthrust diagrammed in stone lines” (Snyder).  The gothic cathedral represented, “The ultimate achievement of those spiritual aspirations” (Snyder).  If there were such a thing as the essence of Gothic, it would be thought of as, “The architecture created in the Ile-de-France” (Snyder). One of France’s most notable cathedrals is the cathedral of Notre Dame, Paris. Built between 1163-1250, Notre Dame marked a new beginning for Gothic architecture in France.\r\n\r\nSurrounding the outer edges of the cathedral of Notre Dame are gargoyles, best known as the creatures that peer down over the city of Paris (Camille). Gargoyles became, “Very popular on architecture in medieval times…” (“Gargoyle History”). The word gargoyle comes from the Roman term of protruding gutter (Evans). They were built in order to drain the water from the roofs of the cathedrals. The gargoyles were placed to extend far off from the walls of the structures to prevent any damage from happening to the cathedrals themselves as the rain ran off  (“Gargoyle History”).  If the gargoyles did not exist to control the rain run-off, “the mortar between the stones of their buildings would, in time, erode away and the building would fall over” (Evans).  The gargoyles come in packs to distribute the flow of rainwater because, “A single gargoyle would not be much good in a ferocious storm” (Evans).  The gargoyles did serve the same purpose as the classical wooden drainpipe but society was changing and so was the architecture that followed. Today, tourists find the stone figures or gargoyles to be, “The most appealing element of the magnificent structure,” but in the Gothic age they were decorative gutters (Camille).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\"><img class=\"aligncenter size-full wp-image-581\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-5.00.39-PM.png\" alt=\"\" width=\"284\" height=\"160\" /></a></p>\r\n<p style=\"text-align: center\">http://www.eden-study.org/personal/images/notre-dame-gargoyles.jpg</p>\r\nGargoyles are imaginative forms of creatures that have little or no resemblance to anything real. Most of them consist of many animal-like features formed into one. The faces of the gargoyles are very extreme and intimidating as well. They almost look like they are yelling at the city down below (Evans). The gargoyles were considered to be, “Symbolic guardians against the external forces of evil” (Camille).  Though they are an opposition to the supernatural evil spirits, they are just as haunting to the society. The gargoyles in the 12<sup>th</sup> century were seen to, “Represent those who under estimated the power of the devil” (Evans).  In Valencia, Spain there is a notable gargoyle of a man with his genitals out. This image was to portray that the devil would catch you exactly when he wanted to. Since sex was seen as sinful during the middle ages, it was placed to scare people of anything non-religious and immoral (Evans).  This image implored ethical behavior.\r\n\r\n<a title=\"Valencia, Spain Gargoyle\" href=\"http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg\" target=\"_blank\">http://photos.travellerspoint.com/205903/naughty_gargoyle.jpg</a> -Photo of the Valencia, Spain Gargoyle\r\n\r\nThe average superstitious person from the middle ages would have found gargoyles like the one from Spain to be quite frightening. Architects of the gargoyles perhaps, “Knew that what people feared most of all was what lay within” (Evans).  The most disconcerting gargoyles do not seem beast like, but portray human qualities (Evans). They “Represent the evil inside human beings…” (Camille). The gargoyles are placed on monumental structures, staring down as a reminder of what humans fear most, themselves and the choices humans make.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\"><img class=\"aligncenter size-full wp-image-580\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.57.34-PM.png\" alt=\"\" width=\"293\" height=\"201\" /></a></p>\r\n<p style=\"text-align: center\">http://www.corbisimages.com/images/67/F812E5B3-890E-447E-81DC-7DDA23C76A0C/AAGB001637.jpg</p>\r\nDuring the 19<sup>th</sup> century the cathedral of Notre Dame went under reconstruction. Viollet-le-Duc restored the cathedral while adding 54 chimeras to the balustrade (the balcony). The chimeras were considered, “The modern (medieval) monsters” (Camille). They were similar to the gargoyles, only slightly larger and were not used as drainpipes. The chimeras were placed at Notre Dame in order to regain, “The spirit of the middle ages” (Camille).  The gargoyle-like chimeras were not a symbol of evil doing through out the society. They represented, “Political and social extremes, contemporary society rather than the Christological symbolism of the medieval bestiary” (Camille).  The fascinating thing about the chimeras though, is the slightest detail of their face or structure has meaning behind it. Large noses represented being a descendant of Jews who were then frowned upon for not being Christian.  A chimera that was built with their tongue sticking out of their mouth represented, “The tradition of grimacing” (Camille).  Though the meaning behind gargoyles and chimeras change constantly through time, their appeal to society stays the same.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM.png\"><img class=\"aligncenter size-medium wp-image-579\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Screen-shot-2011-03-09-at-4.50.44-PM-300x199.png\" alt=\"\" width=\"300\" height=\"199\" /></a></p>\r\n<p style=\"text-align: center\">http://lh5.ggpht.com/_qe9TdddBrIQ/SleD8wtSZVI/AAAAAAAAIEc/Stn_sep77Yk/_MG_4816_a.jpg</p>\r\nThe gargoyles and chimeras through time have expressed historical values. The changes in beliefs reflected through the architecture. How people perceived the world is seen within the eyes of each haunting creature. Most of the gargoyles and chimeras today stand hardly unrecognizable due to the deteriorating of the stones. The stone figures are being harmed by slow death because of industrial pollution (Camille). The cities that once gave gargoyles life are now, “Also the gargoyles main agent of destruction” (Camille).  Restoration of the gargoyles and chimeras can be controversial but without it, a period of time could be lost forever (Camille). Some argue that restoring historical monuments makes them no longer of history, but that is not the case. Future generations would not have the chance to visit the places they hear/learn about and experience them in full effect if history could not be restored. With the gargoyles, people would be deprived of the feeling of fear, intimidation, or laughter of looking up to a beast or human like creature glaring at you from above.  The gargoyles and chimeras give character to monuments such as the cathedrals and should be restored in order to preserve a mystical time in history.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Work Cited</strong></p>\r\n&nbsp;\r\n\r\nCamille, Michael. <em>The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity</em>. Chicago: University of Chicago, 2009. Print.\r\n\r\n&nbsp;\r\n\r\nCarr, Karen. \"Medieval Religion - History for Kids!\" <em>Kidipede - History for Kids - Homework Help for Middle School</em>. Web. 07 Mar. 2011.\r\n\r\n&nbsp;\r\n\r\nEvans, RJ. \"Gargoyles – Glorious Gruesome Grotesques | Quazen.\" <em>Quazen | Arts, Autos and More</em>. 14 Mar. 2010. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\n\"Gargoyle History, Architectural, Religious and Mythical.\" <em>Feng Shui at Wind and Water with Annie Lane. Gargoyles and Gargoyle Photographs, and Various Others</em>. Web. 07 Mar. 2011\r\n\r\n&nbsp;\r\n\r\nSnyder, James. \"Gothic Architecture.\" <em>Medieval Art: Painting-sculpture-architecture, 4-14th Century</em>. New York: H.N. Abrams, 1988. Print.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Gargoyles of Notre Dame ','','inherit','open','open','','552-revision-9','','','2011-03-09 17:19:14','2011-03-09 23:19:14','',552,'http://jeanatacc.com/2011/?p=588',0,'revision','',0),(848,5,'2011-04-03 16:24:37','2011-04-03 22:24:37','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\"><img class=\"alignnone size-full wp-image-855\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\" alt=\"\" width=\"425\" height=\"336\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The High Renaissance”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nRaphael’s School of Athens is a masterfully rendered fresco that was created as part of a larger project to re-decorate Pope Julius’s personal library in the Vatican. It is part of a set of four complementary works that wrap around the room, each designating a different division of learning. School of Athens was meant to represent Philosophy, the love of knowledge, in its original sense which in that day encompassed science and mathematics along with what we would consider philosophic inquiry today. <!--more-->A full rethinking of the “Great Man” portrait, Raphael depicted all of the major scholars and philosophers of antiquity in the same space, in vibrant color, interacting with others and laboring in their various arts. This had never been done; nor had so many secular figures been depicted as pillars of knowledge in the most religious of settings. The combination of advanced skill and advancing attitude represented in School of Athens make it a landmark work that should be preserved to enlighten future generations.\r\n\r\nWhen Julius became Pope one of his first goals was to remake the city of Rome architecturally. To do this he hired architect Donato Bramante, a man with whom he shared little regard for the sanctity of the city’s current appearance. Nothing was sacred, not even Constantine’s St. Peter’s basilica, which was demolished for rebuilding to the chagrin of much of the laity. Julius took power at a time when the church was flush with cash from taxes laid on new papal territories and from an alum mine that had been discovered on church owned land. So Julius embarked on a campaign that was only limited by his imagination (Graham Dixon 178-179).\r\n\r\nThis included a full reworking of his personal living situation at the Vatican. Unhappy with artifacts that had been left by his predecessor, Pope Julius moved his living quarters upstairs to an area that included a room that would come to be known as the Stanza della Segnatura, or Signature Room, due to the Pope’s practice of using it to sign important documents. The room’s primary purpose was to house Julius’s personal library, which was divided into four topics: theology, law, the arts, and philosophy (Hall 5-7). Each wall was to be decorated with a representational fresco that corresponded with the topic shelved below it.\r\n\r\nIncluding a group of texts by pagan philosophers within the walls of a church institution represented a dramatic shift in the Church’s attitude toward secular science, made possible by a recent revival of Classical humanism. When the Ottoman Turks overthrew Constantinople a few decades before, a huge number of Greeks came to Rome seeking safety. Their presence led to a re-emergence of the traditional idea of shared origins for Greek and Roman culture. Julius himself had attended a lecture in 1508 where Rome was described as the “New Athens”, charged with preserving the culture of the ancients (Rowland 103). When work was begun on School of Athens in 1509 this must have been fresh in his mind.\r\n\r\nFollowing the tradition for libraries of the day, the room was to be decorated in the “Great Man” style which depicted scholars of renown in solitary portraits (Hall 7-8).  One of the many artists who had been commissioned for the project was a painter known as Raphael, who had received a recommendation from his kinsman, Bramante (Graham-Dixon 181). Raphael surpassed the static expectations of the form and gave life to a complete re-interpretation that was like nothing ever seen before (Hall 9).\r\n\r\nWhen looking at School of Athens, the first thing sensed is a feeling of depth, that the figures are truly separated from front to back. I say “sensed” and not “noticed’ because the effect is so well done that is seems completely natural, like a legitimate three dimensional rendering. He heightens this effect by placing his characters in a hard to define setting that has been the subject of much speculation. The figures stand on two distinct platforms that are separated by a row of four steps, upon which other characters are also situated. Overhead, stretching into the background are three sequential barrel vaults split by open spaces that allow the bright sky to illuminate his figures. Supporting these vaults are hallways that also seem to stretch into the background that are carved with niches filled with statues. On either side of this hall is a pillared wall, each holding one of the only completely identifiable statues in the composition. On the left is Apollo, on the right Athena.\r\n\r\nThese figures were most likely chosen due to the influence of Egidio da Viterbo, Pope Julius’s favorite preacher. He had recently compared these two pagan deities to Christ, a fact that Julius was certainly aware of. The Neoplatonic tradition of the day ascribed Apollo’s association with light, music and healing with the nature of Christ. Athena, virginal goddess of wisdom, had a strong association with the Virgin Mary, who was the subject of Julius’s great devotion (Rowland 104-105).  In his essay on School of Athens titled “The Architectural Background”, Ralph Liebermann describes them as “…the Olympian deities most closely associated with poetry and music, on the one hand, and wisdom, on the other; they stand, male and female, for all the powers of the mind and the creative spirit and appropriately preside over the gathering of philosophers” (78).\r\n\r\nThe imaginary structure they inhabit is a perfect example of a common practice of the day, trying out architectural ideas in the much cheaper medium of pigment. Some see a resemblance to Bramante’s design for the renewed St. Peter’s (Lieberman 69-70). There may have been some influence, but the central part of the ceiling gives evidence that this was an unbuildable structure that ultimately only served to give Raphael a means to play with perspective. The glimpse we see after the first ceiling vault implies a windowed dome, however there is far too much light in the scene for a dome to be present. If there is no dome and only an open space, then there is no need for the wall with vertical windows that extends upward (Lieberman 72). These experimental elements, while impractical, still add form and balance to the overall composition. The imagined space is also revolutionary in its copious use of statuary as decoration. This had no precedent in the Roman world and has caused some to wonder where Raphael received the inspiration to decorate the room in this way (Lieberman 79).\r\n\r\nThe figures themselves continue to give evidence of Raphael’s exuberant creativity. The piece is centered on the figures of Plato and Aristotle, each holding a labeled copy of the influential works that caused them to be the two most contemplated philosophers of the day. In her essay titled “The Vatican Stanze”, Ingrid D. Rowland does an excellent job of describing the significance of this depiction.\r\n\r\n\"Plato’s Timaeus, labeled in Italian as “Timeo”, is the first place in ancient literature where God is described as one being with three natures: a foreshadowing of the Trinity. Holding this proto-Trinitarian work in one hand, Plato points meaningfully upward with one finger of the other, directing the viewer to look toward heaven and the dome of Raphael’s great  hall to find the three-in-one divinity to which the fresco, the stanze, and the papacy are dedicated. Aristotle holds his Ethics, labeled “Etica”, and sweeps his hand out into the viewer’s space; the insights indicated by Plato have their repercussion in right human behavior. Aristotle’s elaborate treatise will be distilled by Jesus into two rules: love God and love your neighbor. By their own actions, Raphael’s Plato and Aristotle embody these two basic principles.\"\r\n\r\nTo the left stands the green robed figure of Socrates, gesturing instruction to an animated figure who may be Alcibiades, late breaking interlocutor of Plato’s Symposium (Rowland 106). In the foreground directly beneath Socrates’ pupil kneels Pythagoras, surrounded by his eager pupils, working on his theory of the harmonic proportions of music. One of his pupils holds out an abacus, used to represent the notes and intervals as another furiously copies over Pythagoras’ shoulder (Bellori 49-50). To the side of the group stands a figure in yellow, holding a slate that shows the Greek diapason, or perfect chord (Rowland 106). Pythagoras’ involvement with music extended to his using it for therapeutic purposes, and led Raphael to feature him near Apollo, the god of music. Plato even equated Pythagoras’ harmonic proportions to understanding the human soul in the very work he holds in the painting, Timaeus (Hall 33-34).\r\n\r\nJust to our right of this group reclines a depiction of Heraclitus, who Raphael in his playfulness decided to give the features of Michelangelo, who was hard at work next door on the ceiling of the Sistine Chapel. Not only did he slip in a portrait of his compatriot but he also rendered it in Michelangelo’s own style, using his techniques in depicting flesh tones and musculature. Raphael did the same thing with his image of Plato, giving him the features of Leonardo da Vinci and using da Vinci’s own sfumato style on the figures that surround him (Rowland 107).\r\n\r\nFurther to the right, sprawled on the steps, is the totally aloof figure of Diogenes. Diogenes was described by Boethius as “reclining in the temple of wisdom”, so this is how Raphael chose to portray him (qtd. in Rowland 107).  Further to the right in the foreground Euclid the great geometer is depicted with the features of Bramante, Raphael’s shape manipulating architect kinsman (Fiero). The three figures nearest him represent the stages of grasping a complex topic, advancing in comprehension along with their visual height: learning the basics, understanding and sharing, and anticipating the final results (Hall 13). Further to the right are Ptolemy and Zoroaster, two of the greatest known astronomers of the day (Hall 34). And if you look all the way to the right, the 2nd character from the side of the arch is a self portrait of Raphael himself. The young painter was already sure enough of his ability to include his own image alongside the greatest minds known to western society.\r\n\r\nHis self assurance may be somewhat justified. After seeing Raphael’s work in School of Athens, Pope Julius was so impressed that he dismissed all the other artists that were working on the project and gave the entire commission to Raphael (Talvacchia 172). This is the highest praise an artist of the day could ask for, that the most powerful man of the empire was entrusting him with the adornment of his entire personal living quarters. The work was viewed and described by many contemporary critics, who all praised its Unione and Dolcezza, or softness and sweetness in shading and coloring (Bell 87-88).\r\n\r\nModern reviewer Janis Bell agrees with the opinion of the original critics. In addition to praising the shading, or chiaroscuro, she points out that Raphael had used all the hues available to fresco artists in keeping with the traditions of copiousness and variety in color. He takes this a step further, lightening and darkening individual colors to give the impression of an expanded palette. The exact innovation that Raphael used to achieve this effect is still not known. He also avoids repetition and juxtaposes colors “so that when hues are replayed, they always recur in another context” (Bell 92-93).\r\n\r\nA comparison with another “Great Man” painting shows just how much progress was made with School of Athens. Pietro Perugino’s Fortitude and Temperance is closer to the norm for these paintings. The six figures stand poised and separate with no indication of interaction. They all gaze piously downward, expressing little of their own personality. In School of Athens, the characters are full of life and animation, living parts of the room around them. The figures in Fortitude and Temperance all bear some type of implement, perhaps indicating a particular skill or attribute, but this is a far cry from Raphael’s achievement of breathing personality into his collection of scholars. The disparity of dress in Fortitude and Temperance also seems to indicate a possible difference in status, whereas in School of Athens everyone was similarly clothed in the Greek, scholarly tradition, creating a sense that status was secondary to the knowledge they represented. Though they differ widely in technique, both frescoes are very well rendered and obviously done by great artists. What Fortitude and Temperance is missing though is the divine touch of a true master that was evident in School of Athens.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp4.jpg\"><img class=\"alignnone size-medium wp-image-990\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp4-300x221.jpg\" alt=\"\" width=\"300\" height=\"221\" /></a>\r\n\r\nSource: Classicartpaintings.com\r\n\r\nhttp://www.classicartpaintings.com/Painters-P/Pietro+Perugino+_1445-1523_/Perugino_Pietro_Fortitude_and_Temperance_with_Six_Antique_Heroes_1497.jpg.html\r\n\r\nMy first reaction to School of Athens was an overwhelming sense of awe at the work that must have gone into such a fine, detailed rendering. Fresco seems like it would be a very tricky medium to work in so this only added to my respect for Raphael’s skill. Then, when I found out that this painting was commissioned by the Renaissance era church I was completely shocked, never having thought that a group of pagan philosophers would be given such a great honor by the clergy of that day. Overall, it is a very impressive work that was only made possible by the open mindedness of a newly tolerant church.\r\n\r\nSo for future generations, this work should illustrate that tolerance and consideration of foreign ideas can sometimes be the path to enlightenment. It represents that even in the murky depths of history there were scholars hard at work laying the foundation for the modern, enlightened society that we now enjoy. It also gives an example of the first time in western history that spirituality and science were not considered to be mutually exclusive. These are all important lessons that School of Athens can teach, which is why future generations should be able to access and learn from this Renaissance masterpiece.\r\n\r\n&nbsp;\r\n\r\nBibliography:\r\n\r\nBell, Janis. “Color and Chiaroscuro.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 85-113. Print.\r\n\r\nBellori, Giovanni Pietro. “The Image of the Ancient Gymnasium of Athens, or, Philosophy.”\r\nRaphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge University Press, 1997. 48-56. Print.\r\n\r\nFiero, Gloria K. “The High Renaissance.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill\r\nHigher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 29 March 2011\r\n\r\nGraham-Dixon, Andrew. Renaissance. Berkeley and Los Angeles: University of California Press,\r\n1999. Print.\r\n\r\nHall, Marcia. Introduction. Raphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge\r\nUniversity Press, 1997. 1-47. Print.\r\n\r\nLiebermann, Ralph E. “The Architectural Background.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 64-84. Print.\r\n\r\nRowland, Ingrid D. “The Vatican Stanze.” The Cambridge Companion to Raphael. Ed. Marcia B.\r\nHall. Cambridge: Cambridge University Press, 2005. 95-119. Print.\r\n\r\nTalvacchia, Bette. “Raphael’s Workshop and the Development of a Managerial Style.” The\r\nCambridge Companion to Raphael. Ed. Marcia B. Hall. Cambridge: Cambridge University Press, 2005. 167-185. Print.','Raphael\'s School of Athens','','publish','open','open','','raphaels-school-of-athens','','','2011-04-11 14:42:04','2011-04-11 20:42:04','',0,'http://jeanatacc.com/2011/?p=848',0,'post','',6),(591,23,'2011-03-09 20:44:02','2011-03-10 02:44:02','http://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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. <!--more-->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\nhttp://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\nhttp://www.flickr.com/photos/oric1/3191545715/\r\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/\r\n\r\nNumerous 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\nhttp://www.flickr.com/photos/bartpalka/4835794091/\r\nhttp://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\nWORKS CITED\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','DONJAY','','publish','open','open','','donjay','','','2011-03-10 09:00:05','2011-03-10 15:00:05','',0,'http://jeanatacc.com/2011/?p=591',0,'post','',8),(592,23,'2011-03-09 18:41:30','2011-03-10 00:41:30','','DONJAY','','inherit','open','open','','591-revision','','','2011-03-09 18:41:30','2011-03-10 00:41:30','',591,'http://jeanatacc.com/2011/?p=592',0,'revision','',0),(593,23,'2011-03-09 18:56:46','2011-03-10 00:56:46',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\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.\n \n\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.  \n \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.\n \n\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.\n \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. \nThe 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.\n \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.\n \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. \n\n \n \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.\n \n\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.\n \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.\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.  \n','DONJAY','','inherit','open','open','','591-revision-2','','','2011-03-09 18:56:46','2011-03-10 00:56:46','',591,'http://jeanatacc.com/2011/?p=593',0,'revision','',0),(594,4,'2011-03-09 19:01:08','2011-03-10 01:01:08','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.<!--more-->\r\n\r\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\r\n<p style=\"text-align: center;\">&nbsp;</p>\r\n<p style=\"text-align: center;\">Works Cited</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;http://www.cummingsstudyguides.net/Guides3/Everyman.html#Setting&gt;</p>\r\n<p style=\"text-align: left;\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;http://www.luminarium.org/medlit/medievaldrama.htm&gt;</p>\r\n<p style=\"text-align: left;\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\r\n<p style=\"text-align: left;\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; http://faculty.goucher.edu/eng211/Everyman.html&gt;</p>\r\n<p style=\"text-align: left;\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm&gt;</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>','The Summoning of Everyman','','publish','open','open','','the-summoning-of-everyman','','','2011-03-10 09:02:10','2011-03-10 15:02:10','',0,'http://jeanatacc.com/2011/?p=594',0,'post','',7),(695,1,'2011-03-10 01:30:42','2011-03-10 07:30:42','St. Peter’s Basilica of Rome is one of the largest churches in the world. The present structure was built between the years of 1506 and 1626 by multiple artists on the original site of the Vatican cemetery. St. Peter’s Basilica was gradually torn down and replaced over long periods of time. The first church of St. Peter was created by Emperor Constantine during the 4<sup>th</sup> century.\r\n\r\n<!--more-->\r\n\r\nHe built a wood-roofed Basilica over the grave of St. Peter. By the 15<sup>th</sup> century Pope Nicholas V commenced the continuation of the Basilica’s construction by adding a choir and transepts. This work had been completed by 1452. Pope Julius II ordered for the reconstruction of the basilica in 1506. Bramante was assigned as architect of the basilica. Bramante’s original plan was to create a symmetrical Greek cross positioning a large dome over the center. His work was then detained by Raphael (1514), Antonio da San Gallo (1520) and Michelangelo (1547). Michelangelo was successful in finalizing the building up to the drum of the great dome. The finalized design and dome was completed by Giacoma della Porta. By the 16<sup>th</sup> century there was argument over whether the church would be built with a Greek or Latin cross. Carlo Maderno (1607-1614) resolved this dispute with his addition of the Latin cross plan. His cross addition unfortunately obscured the Basilica’s dome. In 1626 the church was dedicated to Rome by pope Urban VIII. The final composition of St. Peter’s was completed by GianLorenzo Bernini (1629-1662). Bernini created a forecourt led by a magnificent piazza. This piazza is surrounded by quadruple colonnades. These colonnades incorporate 284 Doric columns (39 ft. high) and 96 statues of saints. The center of the piazza holds an authentic obelisk of Heliopolis. A monumental avenue was eventually created by Mussolini which led into the piazza. The church’s facade was cleaned and restored from 1996-1999. The church’s dome is 404 ft. (123m) high with an interior diameter of 137 ft. (42 m). Bernini created a baldacchino or a large sculpted bronze canopy within the basilica. Four pillars represented the columns of the Temple of Solomon. Eucharist vines are entwined about the columns symbolize the New Testament. The vines, tassels, banners and angelic figures incorporated into the canopy were all produced in bronze. The canopy was proposed to mark the place of Saint Peter\'s tomb underneath in a monumental manner. Beneath the canopy lies an altar in which only a pope is allowed to read mass. The basilica’s interior is covered with colored marbles, sculptures and fresco decorations.\r\n\r\nThe Basilica is part of the Renaissance architecture era between the 15<sup>th</sup> and 17<sup>th</sup> centuries. This era demonstrated the revitalization of ancient Greek elements and Roman thought. St. Peter’s dome became a requisite element in church architecture that later transcended to secular architecture. The Basilica’s design and everything around it is a part of the Baroque style (1600-1750). The Baroque style originated from Italy bringing a new level of scheme to Western art. Baroque artwork dramatized idealization of figures, settings and perspective. St. Peter’s church was designed to reflect the ideals of the Catholic Reformation.\r\n\r\nThis structure was highly innovative and engineered impeccably.  The church stands out from its peers due to its planned architectural works. The church instills division of relic and innovation, as well as the workings of memory itself. The creation of the Basilica was not unusual during the Baroque period of the renaissance. Baroque architecture, sculptures and paintings became a popular form of art. St. Peter’s Basilica was a representation of ornate beauty through the Baroque style. Architecture promoted the ambitions of rulers and the religious beliefs of Catholics and Protestants. This work was received by Rome from Pope Urban VIII due to the completion of the Basilica.\r\n\r\nToday the public views St. Peter’s Basilica as one of the most renowned churches of worship in the world. Five to ten millions of tourists come to experience the beauty of the church every year. The works within and outside of the church are described as staggering and breath taking. The Basilica is viewed more than just a museum but a place of consecration. People of all ages are moved by the magnificent beauty that is instilled within St. Peter’s. A more intimate experience waits in the tombs below the sanctuary, where both tourists and devotees meander past the tomb of St. Peter and weep openly at the grave of Pope John Paul II. Tourists find themselves pondered in the history, religion and sheer beauty of the place. There are no differences in reception in the past or today. St. Peter’s Basilica is and will always be an everlasting attraction of faith and antiquity.\r\n\r\nThe church’s overall construction and innovative design are the most astounding aspects to it. I find the church to be a unique and historical attribute to the Vatican City. I also think that the most meaningful part of the work is the numerous amounts of devoted workers it took to construct the Basilica and the length of time it took to be finalized.\r\n\r\nSt. Peter’s Basilica of Rome is most significant for future generations to know about because of its beauty and history. I believe this church should be well preserved for the many generations and years to come. This church is a miraculous site especially with its excavations below. Future generations need to understand the amount of time and work that was put into creating such a grand marvel of history. Some of the most renowned artists offered their contribution to creating this structure. The Basilica will always be a place of religious sanctuary and a museum of Vatican history.\r\n\r\n&nbsp;','St. Peter\'s Basilica of Rome','','inherit','open','open','','684-revision-3','','','2011-03-10 01:30:42','2011-03-10 07:30:42','',684,'http://jeanatacc.com/2011/?p=695',0,'revision','',0),(595,4,'2011-03-09 19:00:36','2011-03-10 01:00:36','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.\n\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\n\n&nbsp;\n<p style=\"text-align: center\">&nbsp;</p>\n<p style=\"text-align: center\">&nbsp;</p>\n<p style=\"text-align: center\">Works Cited</p>\n<p style=\"text-align: left\">&nbsp;</p>\n<p style=\"text-align: left\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Guides3/Everyman.html#\">http://www.cummingsstudyguides.net/Guides3/Everyman.html#</a>Setting&gt;</p>\n<p style=\"text-align: left\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;<a href=\"http://www.luminarium.org/medlit/medievaldrama.htm\">http://www.luminarium.org/medlit/medievaldrama.htm</a>&gt;</p>\n<p style=\"text-align: left\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\n<p style=\"text-align: left\">&nbsp;</p>\n<p style=\"text-align: left\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; <a href=\"http://faculty.goucher.edu/eng211/Everyman.html\">http://faculty.goucher.edu/eng211/Everyman.html</a>&gt;</p>\n<p style=\"text-align: left\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;<a href=\"http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm\">http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm</a>&gt;</p>\n<p style=\"text-align: left\">&nbsp;</p>','The Summoning of Everyman','','inherit','open','open','','594-revision','','','2011-03-09 19:00:36','2011-03-10 01:00:36','',594,'http://jeanatacc.com/2011/?p=595',0,'revision','',0),(597,4,'2011-03-09 19:02:06','2011-03-10 01:02:06','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.\r\n\r\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited</p>\r\n<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: left\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Guides3/Everyman.html#\">http://www.cummingsstudyguides.net/Guides3/Everyman.html#</a>Setting&gt;</p>\r\n<p style=\"text-align: left\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;<a href=\"http://www.luminarium.org/medlit/medievaldrama.htm\">http://www.luminarium.org/medlit/medievaldrama.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\r\n<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: left\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; <a href=\"http://faculty.goucher.edu/eng211/Everyman.html\">http://faculty.goucher.edu/eng211/Everyman.html</a>&gt;</p>\r\n<p style=\"text-align: left\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;<a href=\"http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm\">http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">&nbsp;</p>','The Summoning of Everyman','','inherit','open','open','','594-revision-3','','','2011-03-09 19:02:06','2011-03-10 01:02:06','',594,'http://jeanatacc.com/2011/?p=597',0,'revision','',0),(596,4,'2011-03-09 19:01:08','2011-03-10 01:01:08','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.\r\n\r\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited</p>\r\n<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: left\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Guides3/Everyman.html#\">http://www.cummingsstudyguides.net/Guides3/Everyman.html#</a>Setting&gt;</p>\r\n<p style=\"text-align: left\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;<a href=\"http://www.luminarium.org/medlit/medievaldrama.htm\">http://www.luminarium.org/medlit/medievaldrama.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\r\n<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: left\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; <a href=\"http://faculty.goucher.edu/eng211/Everyman.html\">http://faculty.goucher.edu/eng211/Everyman.html</a>&gt;</p>\r\n<p style=\"text-align: left\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;<a href=\"http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm\">http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">&nbsp;</p>','The Summoning of Everyman','','inherit','open','open','','594-revision-2','','','2011-03-09 19:01:08','2011-03-10 01:01:08','',594,'http://jeanatacc.com/2011/?p=596',0,'revision','',0),(598,23,'2011-03-09 18:56:55','2011-03-10 00:56:55',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\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\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\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\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 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. \r\nThe 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\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\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 \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\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\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\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','DONJAY','','inherit','open','open','','591-revision-3','','','2011-03-09 18:56:55','2011-03-10 00:56:55','',591,'http://jeanatacc.com/2011/?p=598',0,'revision','',0),(599,23,'2011-03-09 19:06:40','2011-03-10 01:06:40',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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\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\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\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 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. \r\nThe 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\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\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 \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\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\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\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','DONJAY','','inherit','open','open','','591-revision-4','','','2011-03-09 19:06:40','2011-03-10 01:06:40','',591,'http://jeanatacc.com/2011/?p=599',0,'revision','',0),(600,23,'2011-03-09 19:11:46','2011-03-10 01:11:46',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\n \n\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.  \n \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.\n \n\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.\n \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. \nThe 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.\n \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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n \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.\n \n\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.\n \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.\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.  \n','DONJAY','','inherit','open','open','','591-revision-5','','','2011-03-09 19:11:46','2011-03-10 01:11:46','',591,'http://jeanatacc.com/2011/?p=600',0,'revision','',0),(601,23,'2011-03-09 19:13:17','2011-03-10 01:13:17',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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\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\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\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 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. \r\nThe 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\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\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\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\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\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\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','DONJAY','','inherit','open','open','','591-revision-6','','','2011-03-09 19:13:17','2011-03-10 01:13:17','',591,'http://jeanatacc.com/2011/?p=601',0,'revision','',0),(602,23,'2011-03-09 19:18:32','2011-03-10 01:18:32',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\n\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.\n \n\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.\n \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. \nThe 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.\n \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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \n\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.\n \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.\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.  \n','DONJAY','','inherit','open','open','','591-revision-7','','','2011-03-09 19:18:32','2011-03-10 01:18:32','',591,'http://jeanatacc.com/2011/?p=602',0,'revision','',0),(603,23,'2011-03-09 19:21:29','2011-03-10 01:21:29',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \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.\n \n\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.\n\n http://www.flickr.com/photos/oric1/3191545715/\n\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. \nThe 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.\n \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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \n\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.\n \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.\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.  \n','DONJAY','','inherit','open','open','','591-revision-8','','','2011-03-09 19:21:29','2011-03-10 01:21:29','',591,'http://jeanatacc.com/2011/?p=603',0,'revision','',0),(604,23,'2011-03-09 19:22:16','2011-03-10 01:22:16',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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\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\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\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 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. \r\nThe 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\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\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\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\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\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\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','DONJAY','','inherit','open','open','','591-revision-9','','','2011-03-09 19:22:16','2011-03-10 01:22:16','',591,'http://jeanatacc.com/2011/?p=604',0,'revision','',0),(605,23,'2011-03-09 19:29:28','2011-03-10 01:29:28',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \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. \nThe 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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\n\n\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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \n\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.\n \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.\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.  \n','DONJAY','','inherit','open','open','','591-revision-10','','','2011-03-09 19:29:28','2011-03-10 01:29:28','',591,'http://jeanatacc.com/2011/?p=605',0,'revision','',0),(606,23,'2011-03-09 19:29:42','2011-03-10 01:29:42',' \r\nhttp://www.flickr.com/photos/dawnae/5163376545/\r\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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\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\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\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 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. \r\nThe 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\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\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\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\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\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','DONJAY','','inherit','open','open','','591-revision-11','','','2011-03-09 19:29:42','2011-03-10 01:29:42','',591,'http://jeanatacc.com/2011/?p=606',0,'revision','',0),(607,23,'2011-03-09 19:35:55','2011-03-10 01:35:55',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \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. \nThe 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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\n\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.  \n','DONJAY','','inherit','open','open','','591-revision-12','','','2011-03-09 19:35:55','2011-03-10 01:35:55','',591,'http://jeanatacc.com/2011/?p=607',0,'revision','',0),(609,23,'2011-03-09 19:39:26','2011-03-10 01:39:26',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \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. \nThe 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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \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.  \n','DONJAY','','inherit','open','open','','591-revision-13','','','2011-03-09 19:39:26','2011-03-10 01:39:26','',591,'http://jeanatacc.com/2011/?p=609',0,'revision','',0),(610,26,'2011-03-09 19:43:07','2011-03-10 01:43:07','This is the first historical autobiography. It does not cover all of this man\'s life but deals with his teenage years up until his conversion in his thirties. The subject matter is dealing with questions of faith and the lusts of the mind, body, and curiosity of his senses.(Coffin) St. Augustine’s Confessions needs to be taken into the future because of it’s honest truth of man’s questions towards the Christian faith.<!--more-->\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','','publish','open','open','','st-augustines-confessions','','','2011-03-10 09:01:08','2011-03-10 15:01:08','',0,'http://jeanatacc.com/2011/?p=610',0,'post','',7),(693,1,'2011-03-09 19:02:39','2011-03-10 01:02:39','Nowadays, within a growing secular audience, we don\'t spend our days  aching to learn of this almighty God who will damn us to eternal hell overlooking our every waking move, but we have become a place obsessed with our Earthly comforts, consumed by all we can accumulate. Death is inevitable, and when we stand to face it, like Everyman did in the morality play of the 1400s, it reminds us we exit only with the the good things we\'ve done to be remembered by.\r\n\r\nEveryman was written by an unknown author; Since then, historians have found monks or priests most likely responsible for a play of that genre. A morality play was a kind of theatrical work written during the Medieval times; they were highly praised among the church since they spoke of morals church members should abide by, through dramatic entertainment. Most of the people who populated Medieval Europe were illiterate and were unable to read the bible or other religious texts, only able to participate in the oral sermons that were given. This alternative way to speak the words of the Old and New Testaments were innovative since it could clearly reach out to everyone longing to hear the words of Christ. (White) Morality plays were a kind of allegory where the protagonist was met with a sea of personified characters which would test his Earthly life to ultimately show us whether our character would go on to live sinfully or choose to follow and honor the Divine. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) In Everyman, he is represented as your everyday citizen of the Earth who has abused his freedom, but repents his sins so he may be saved. Fellow characters include, God, the almighty, supernatural being; Death, to summon Everyman, sent by God himself; Cousin, Material Goods, Kindred and Fellowship, who stands aside Everyman in his physical life; Knowledge, who guides Everyman through receiving salvation; Good deeds, what will join him in his life hereafter; Confession, who Everyman admits his sins to; Five-Wits, Beauty, Strength and Discretion, who stand aside Everyman while on Earth, as well, but will not transcend to the afterlife; an Angel, who calls onto Everyman to what awaits for him beyond; and lastly, Doctor, a scholar we meet at the ending of the play who gives us a final cautious speech. (Cummings) Everyman finds himself face to face with Death, who was summoned by the Lord to have Everyman take pilgrimage with him, telling Everyman he must take along those whom will contribute to his soul in the afterlife. His loss of most Earthly acquaintances and personifications of worldly things, throughout the time-span of the play, stress the morals Everyman was written to teach: that man mustn’t become overly consumed with his possessions and objects of wealth. Also, to live against satisfying one’s own pleasure and fulfill a life of virtue aware of Jesus’ sacrifice to us. Although he finds himself juggling the options of his Earthly accompaniment, he ultimately sees which will benefit his soul when standing towards Death. The play displayed a common subject matter, since works of the fifteenth century often displayed men being summoned by death. The bloodshed of war, various widespread plagues and frequent crime made death a common sight to the public. Much poetry and artwork throughout the fifteenth and sixteenth century, dealt with a similar theme. (Sanders) It has been found that not much drama was produced throughout the Middle Ages; Through the never-ending rise of religious faith, the Church of the Middle Ages became responsible for the revival of dramas. (White) Another genre of plays that came about during the time of Everyman were mystery plays. These were theatrical performances which portrayed biblical subjects such as the following: Creation of the world, Adam and Eve, the murder of Abel, Noah and the flood, Prophets, foretelling Christ; and the Last judgement. (Jokinen) Although morality plays and mystery plays both convey biblical events, they each held considerable differences. As a morality plays tells us of morals, mystery plays lie within the mystery in which Christ delivers mankind from sin and saves us all from evil. Also, rather than a one-act as Everyman, these mystery plays, more specifically, “Noah’s Flood,” was part of the “cycles” of biblical tales, to fully dramatize each stage of events to the unlearned. Today, historians and people of all kinds find Everyman to be an intriguing source of finding and learning about the moral code that existed within the Middle Ages. For a modern audience to truly gain from this, they must remember it flourished in a time where these were greatly theological and created to reform the viewers. This allegorical way of thinking came from the medieval faith that felt everything on this Earth had a great moral underlining. When future generations read Everyman, it will go on to be a wonderful way to learn valuable life messages through the medieval mind’s standpoint and create our own personal image of ourselves through what would otherwise seem like intangible characters.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited</p>\r\n<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: left\">Cummings, Michael. “Everyman: a Morality Play.” <em>Cummings Study Guides.</em> 2010. Web. 7. March. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Guides3/Everyman.html#\">http://www.cummingsstudyguides.net/Guides3/Everyman.html#</a>Setting&gt;</p>\r\n<p style=\"text-align: left\">Jokinen, Anniina. “Medieval Drama.” <em>Luminarium: Anthology of English Literature.</em> 6. April. 2009. Web. 7. March. 2011. &lt;<a href=\"http://www.luminarium.org/medlit/medievaldrama.htm\">http://www.luminarium.org/medlit/medievaldrama.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">Potter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.</p>\r\n<p style=\"text-align: left\">Sander, Arnie. “Everyman (after 1485)” <em>Groucher College.</em> 13 Dec. 2010. Web. 7. March. 2011. &lt; <a href=\"http://faculty.goucher.edu/eng211/Everyman.html\">http://faculty.goucher.edu/eng211/Everyman.html</a>&gt;</p>\r\n<p style=\"text-align: left\">White, David. “Everyman.” <em>WSCC Virtual College. </em>n. d. Web. 7. March. 2011. &lt;<a href=\"http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm\">http://vc.ws.edu/engl2410/2002/unit3/06Everyman.htm</a>&gt;</p>\r\n<p style=\"text-align: left\">&nbsp;</p>','The Summoning of Everyman','','inherit','open','open','','594-revision-4','','','2011-03-09 19:02:39','2011-03-10 01:02:39','',594,'http://jeanatacc.com/2011/?p=693',0,'revision','',0),(611,26,'2011-03-09 19:42:30','2011-03-10 01:42:30','<p style=\"text-align: center\">TCP2\nConfessions\nSt.Augustine of Hippo\n354 C.E\nThis is the first historical autobiography. It does not cover all of this man\'s life but deals\nwith his teenage years up until his conversion in his thirties. The subject matter is\ndealing with questions of faith and the lusts of the mind, body, and curiosity of his\nsenses.(Coffin) St. Augustine’s Confessions needs to be taken into the future because of\nit’s honest truth of man’s questions towards the Christian faith.\n\nThis was a Christian piece of work, but was written in a style of prayer and confessions\nfor his Lord Jesus. (Outler) It covers the daily trials of a secular man. It addresses an audience of\nyoung and old that has had the same issues or questions of faith. Confessions is written\nfor humanity to understand that faith is a trial of learning who you are and\nunderstanding who God is. (Coffin)\n\nInnovative of its time was because this particular piece of work isn\'t a Christian\ndoctrine. It wasn\'t meant for the church to use for instruction and daily rituals that\nshould be used by man in his worship of God. Instead, it was material for the\nwandering, lost, those seeking answers. Confessions is a personal  journey towards\nsalvation and how Augustine found faith out of a pagan and lustful life. (Pullman)\n\nTypical of its era, the subject matter of St. Augustine\'s Confessions was faith based.\nDuring the fourth century, Christianity was developing dramatically and religion was\ndebated heavily in schools and major cities. The moral justification of\nConfessions influenced the growing number of people that were searching for a faith\nthat made them feel whole.  Augustine\'s conversion into Christianity is the central point of\nConfessions. (Pullman)\n\nFascination with spirituality tempted most men\'s curiosity, whether it be pagan or\nChristian.  It was a fragile time in religion and cultural expansion of the minds of men\nwas sought out vigorously.  St. Augustine\'s Confessions was just one of these curiosity\ndriven writings of spirituality and his own personal path of eventual salvation through\nthe Church. (Cook)\n\nToday,  St. Augustine\'s writings are held in high regard with the church and scholars.\nHis teachings are a modern day vision of the \"Philosophy of History\" of this particular\ncentury.(Outler)  Confessions is used to teach men today about the value and triumph of soul\nsearching for a faith that you may not always understand.\n\nConfessions is considered a look into the questions of humanity weighted with the\nspirituality of God. Many Christian scholars quote and teach from this book. It not only\nbrings up faith based questions, but also moral questions and those implications\nof acting upon the immoral impulses.(Vance)\n\nThis book compares to the writings of Libanius. He was a Greek Sophist during the same\ncentury. In his writings, he wanted to preserve the Greek traditions. He also created a\nhistorical autobiography, but it was a scholar\'s journal, not a quest to find religion.\nEven though Libanius lived as if Christianity didn\'t exist, his beliefs and teachings\ninfluenced notable Christians such as John Chrysostome.  Libanius was honored by the\nChristian emperor Theodosius I,  who named Libanius a praetorian prefect.(Britannica Biographies )\nEven though Libanius and St. Augustine had different belief structures, the good in their\nwritings on morality still inspire generations of people searching for answers.\n\nBoth these men have given future generations a journey through words of the cultural\nand historic transistion that was occuring during the fourth century. Without their\ninfluence and documentation, the changing world of theirs would have remained silent\nagainst the sands of time.\n\nDuring the time of Augustine of Hippo, humanity was trying expanding thought towards\nethics, philosophy and religion. It was a melting pot of different beliefs and strong\nskeptism. When Augustine was quoted in Rome by a colleague before a Pelagius\npresence, the discussion turned quarrelsome. The ideas presented by St. Augustine\nwent against their rational thoughts and pagan morals. ([Internet Encyclopedia of Philosophy)\n\nAugustine helped restructure Christianity during the fourth and fifth century, giving him\nthe prestige of being named one of the original founders of Christianity. His work would\nbring sociological, ethical, political, and theological aspects to the Christian society\nduring the Middle Ages. (Outler)\n\nI believe this book should come with us because of the immense truth of it. Even if you\ndon\'t believe in Christianity, it is a guide to the questions of lust, belief and morality. The\nhistorical context of Confessions is a testament to our future of mankind\'s insatiable\ncuriosity of spirituality.\n\n\nBibliography\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).\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;.\nWillis, Garry. Interview, http://press.princeton.edu/releases/m9393.html\n\"Augustine [Internet Encyclopedia of Philosophy].\" Internet Encyclopedia of Philosophy. Web. 09 Mar. 2011. &lt;http://www.iep.utm.edu/augustin/#H5&gt;\n\"Augustine.\" Washington State University - Pullman, Washington. Web. 09 Mar. 2011. &lt;http://www.wsu.edu/~dee/CHRIST/AUG.HTM&gt;\n\"Libanius.\" Britannica Biographies (2010): 1. MasterFILE Premier. EBSCO. Web. 1 Mar. 2011.\nCoffin, R. S. Introduction. Confessions. England: Penguin Classics, 1961. 1-346. Print.\nALBERT C. OUTLER, Ph.D., D.D, Augustine:Confessions. Scanned by Harry Plantinga, whp@wheaton.edu, 1994</p>','St. Augustine\'s Confessions','','inherit','open','open','','610-revision','','','2011-03-09 19:42:30','2011-03-10 01:42:30','',610,'http://jeanatacc.com/2011/?p=611',0,'revision','',0),(617,23,'2011-03-09 19:54:39','2011-03-10 01:54:39',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\n\n\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.\n\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \n\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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \n\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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \n\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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \n\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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \n\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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \n\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.  \n\n\nSturm, James L. Stained Glass from Medieval Times to the Present. New York: E.P. Dutton, Inc., 1982. Print. \n\n','DONJAY','','inherit','open','open','','591-revision-15','','','2011-03-09 19:54:39','2011-03-10 01:54:39','',591,'http://jeanatacc.com/2011/?p=617',0,'revision','',0),(612,26,'2011-03-09 19:43:07','2011-03-10 01:43:07','<p style=\"text-align: center\">TCP2\r\nConfessions\r\nSt.Augustine of Hippo\r\n354 C.E\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\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;\r\n\"Augustine.\" Washington State University - Pullman, Washington. Web. 09 Mar. 2011. &lt;http://www.wsu.edu/~dee/CHRIST/AUG.HTM&gt;\r\n\"Libanius.\" Britannica Biographies (2010): 1. MasterFILE Premier. EBSCO. Web. 1 Mar. 2011.\r\nCoffin, R. S. Introduction. Confessions. England: Penguin Classics, 1961. 1-346. Print.\r\nALBERT C. OUTLER, Ph.D., D.D, Augustine:Confessions. Scanned by Harry Plantinga, whp@wheaton.edu, 1994</p>','St. Augustine\'s Confessions','','inherit','open','open','','610-revision-2','','','2011-03-09 19:43:07','2011-03-10 01:43:07','',610,'http://jeanatacc.com/2011/?p=612',0,'revision','',0),(613,23,'2011-03-09 19:42:05','2011-03-10 01:42:05',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\n\n\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.\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \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. \nThe 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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \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.  \n','DONJAY','','inherit','open','open','','591-revision-14','','','2011-03-09 19:42:05','2011-03-10 01:42:05','',591,'http://jeanatacc.com/2011/?p=613',0,'revision','',0),(614,26,'2011-03-09 19:43:53','2011-03-10 01:43:53','<p style=\"text-align: left\">TCP2\r\nConfessions\r\nSt.Augustine of Hippo\r\n354 C.E\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.</p>\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;\r\n\"Augustine.\" Washington State University - Pullman, Washington. Web. 09 Mar. 2011. &lt;http://www.wsu.edu/~dee/CHRIST/AUG.HTM&gt;\r\n\"Libanius.\" Britannica Biographies (2010): 1. MasterFILE Premier. EBSCO. Web. 1 Mar. 2011.\r\nCoffin, R. S. Introduction. Confessions. England: Penguin Classics, 1961. 1-346. Print.\r\nALBERT C. OUTLER, Ph.D., D.D, Augustine:Confessions. Scanned by Harry Plantinga, whp@wheaton.edu, 1994','St. Augustine\'s Confessions','','inherit','open','open','','610-revision-3','','','2011-03-09 19:43:53','2011-03-10 01:43:53','',610,'http://jeanatacc.com/2011/?p=614',0,'revision','',0),(615,26,'2011-03-09 19:46:13','2011-03-10 01:46:13','TCP2\nConfessions\nSt.Augustine of Hippo\n354 C.E\n<p style=\"text-align: left\">Kris Cooley</p>\n<p style=\"text-align: left\">This is the first historical autobiography. It does not cover all of this man\'s life but deals\nwith his teenage years up until his conversion in his thirties. The subject matter is\ndealing with questions of faith and the lusts of the mind, body, and curiosity of his\nsenses.(Coffin) St. Augustine’s Confessions needs to be taken into the future because of\nit’s honest truth of man’s questions towards the Christian faith.</p>\nThis was a Christian piece of work, but was written in a style of prayer and confessions\nfor his Lord Jesus. (Outler) It covers the daily trials of a secular man. It addresses an audience of\nyoung and old that has had the same issues or questions of faith. Confessions is written\nfor humanity to understand that faith is a trial of learning who you are and\nunderstanding who God is. (Coffin)\n\nInnovative of its time was because this particular piece of work isn\'t a Christian\ndoctrine. It wasn\'t meant for the church to use for instruction and daily rituals that\nshould be used by man in his worship of God. Instead, it was material for the\nwandering, lost, those seeking answers. Confessions is a personal  journey towards\nsalvation and how Augustine found faith out of a pagan and lustful life. (Pullman)\n\nTypical of its era, the subject matter of St. Augustine\'s Confessions was faith based.\nDuring the fourth century, Christianity was developing dramatically and religion was\ndebated heavily in schools and major cities. The moral justification of\nConfessions influenced the growing number of people that were searching for a faith\nthat made them feel whole.  Augustine\'s conversion into Christianity is the central point of\nConfessions. (Pullman)\n\nFascination with spirituality tempted most men\'s curiosity, whether it be pagan or\nChristian.  It was a fragile time in religion and cultural expansion of the minds of men\nwas sought out vigorously.  St. Augustine\'s Confessions was just one of these curiosity\ndriven writings of spirituality and his own personal path of eventual salvation through\nthe Church. (Cook)\n\nToday,  St. Augustine\'s writings are held in high regard with the church and scholars.\nHis teachings are a modern day vision of the \"Philosophy of History\" of this particular\ncentury.(Outler)  Confessions is used to teach men today about the value and triumph of soul\nsearching for a faith that you may not always understand.\n\nConfessions is considered a look into the questions of humanity weighted with the\nspirituality of God. Many Christian scholars quote and teach from this book. It not only\nbrings up faith based questions, but also moral questions and those implications\nof acting upon the immoral impulses.(Vance)\n\nThis book compares to the writings of Libanius. He was a Greek Sophist during the same\ncentury. In his writings, he wanted to preserve the Greek traditions. He also created a\nhistorical autobiography, but it was a scholar\'s journal, not a quest to find religion.\nEven though Libanius lived as if Christianity didn\'t exist, his beliefs and teachings\ninfluenced notable Christians such as John Chrysostome.  Libanius was honored by the\nChristian emperor Theodosius I,  who named Libanius a praetorian prefect.(Britannica Biographies )\nEven though Libanius and St. Augustine had different belief structures, the good in their\nwritings on morality still inspire generations of people searching for answers.\n\nBoth these men have given future generations a journey through words of the cultural\nand historic transistion that was occuring during the fourth century. Without their\ninfluence and documentation, the changing world of theirs would have remained silent\nagainst the sands of time.\n\nDuring the time of Augustine of Hippo, humanity was trying expanding thought towards\nethics, philosophy and religion. It was a melting pot of different beliefs and strong\nskeptism. When Augustine was quoted in Rome by a colleague before a Pelagius\npresence, the discussion turned quarrelsome. The ideas presented by St. Augustine\nwent against their rational thoughts and pagan morals. ([Internet Encyclopedia of Philosophy)\n\nAugustine helped restructure Christianity during the fourth and fifth century, giving him\nthe prestige of being named one of the original founders of Christianity. His work would\nbring sociological, ethical, political, and theological aspects to the Christian society\nduring the Middle Ages. (Outler)\n\nI believe this book should come with us because of the immense truth of it. Even if you\ndon\'t believe in Christianity, it is a guide to the questions of lust, belief and morality. The\nhistorical context of Confessions is a testament to our future of mankind\'s insatiable\ncuriosity of spirituality.\n\nBibliography\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).\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;.\nWillis, Garry. Interview, http://press.princeton.edu/releases/m9393.html\n\"Augustine [Internet Encyclopedia of Philosophy].\" Internet Encyclopedia of Philosophy. Web. 09 Mar. 2011. &lt;http://www.iep.utm.edu/augustin/#H5&gt;\n\"Augustine.\" Washington State University - Pullman, Washington. Web. 09 Mar. 2011. &lt;http://www.wsu.edu/~dee/CHRIST/AUG.HTM&gt;\n\"Libanius.\" Britannica Biographies (2010): 1. MasterFILE Premier. EBSCO. Web. 1 Mar. 2011.\nCoffin, R. S. Introduction. Confessions. England: Penguin Classics, 1961. 1-346. Print.\nALBERT C. OUTLER, Ph.D., D.D, Augustine:Confessions. Scanned by Harry Plantinga, whp@wheaton.edu, 1994','St. Augustine\'s Confessions','','inherit','open','open','','610-autosave','','','2011-03-09 19:46:13','2011-03-10 01:46:13','',610,'http://jeanatacc.com/2011/?p=615',0,'revision','',0),(616,26,'2011-03-09 19:44:24','2011-03-10 01:44:24','<p style=\"text-align: left\">TCP2\r\nConfessions\r\nSt.Augustine of Hippo\r\n354 C.E</p>\r\n<p style=\"text-align: left\">Kris Cooley</p>\r\n<p style=\"text-align: left\">\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.</p>\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;\r\n\"Augustine.\" Washington State University - Pullman, Washington. Web. 09 Mar. 2011. &lt;http://www.wsu.edu/~dee/CHRIST/AUG.HTM&gt;\r\n\"Libanius.\" Britannica Biographies (2010): 1. MasterFILE Premier. EBSCO. Web. 1 Mar. 2011.\r\nCoffin, R. S. Introduction. Confessions. England: Penguin Classics, 1961. 1-346. Print.\r\nALBERT C. OUTLER, Ph.D., D.D, Augustine:Confessions. Scanned by Harry Plantinga, whp@wheaton.edu, 1994','St. Augustine\'s Confessions','','inherit','open','open','','610-revision-4','','','2011-03-09 19:44:24','2011-03-10 01:44:24','',610,'http://jeanatacc.com/2011/?p=616',0,'revision','',0),(618,23,'2011-03-09 20:20:33','2011-03-10 02:20:33',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\n\n\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.\n\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \n\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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \n\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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \n\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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \n\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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \n\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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \n\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.  \n\n\nSturm, James L. <em>Stained Glass from Medieval Times to the Present</em>. New York: E.P. Dutton, Inc., 1982. Print. \n\nBrisac, Catherine. <em>A Thousand Years of Stained Glass</em>. Garden City, New York: Doubleday &amp; Company, Inc, 1986. Print. \n\nKaye, Nicholas, Marcel Aubert, and Simone Goubet. <em>Gothic Cathedrals of France and their Treasures</em>. London, England: Adlard and Son, Ltd., 1959. Print. \n\n\"The Illuminated Church and the Rayonnant Style\". <em>Arts and Humanities Through the Eras.</em>\nEd. Edward I. Bleiberg, et al. \nVol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 45-49. <em>Gale Virtual Reference Library</em>. Web 3 Mar 2011\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\n\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\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\n\nWeiss, Daniel H. \" Architectural symbolism and the decoration of the Ste.-Chapelle.\" <em>Art Bulletin </em>77.2 (1995):308. Maste','DONJAY','','inherit','open','open','','591-revision-16','','','2011-03-09 20:20:33','2011-03-10 02:20:33','',591,'http://jeanatacc.com/2011/?p=618',0,'revision','',0),(619,7,'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.<!--more-->\r\n\r\nThere is evidence of two restorations; one in 983 and one in 1881that added Gothic and Renaissance additions to the Chapel. (Pelican page 47) Odo of Metz, acknowledged as the architect of the palace and the chapel was praised by Eginhard, Charlemagne’s biographer when he described the octagonal central space which conveys an unrelenting feeling of “compartmentation,” creating a space unlike an ordinary church of its time. It is also noted that the chapel was originally envisioned as a tomb house by Odo. (Conant page 50) And, indeed, Charlemagne’s remains are located in the Chapel.\r\n\r\n[caption id=\"attachment_623\" align=\"aligncenter\" width=\"277\" caption=\"View of Octagon and chandelier in the Palatine Chapel                               \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20124-004-BA5EECC1.jpg\"><img class=\"size-full wp-image-623\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20124-004-BA5EECC1.jpg\" alt=\"View of Octagon and chandelier in the Palatine Chapel\" width=\"277\" height=\"300\" /></a>[/caption]\r\n\r\nhttp://media-3.web.britannica.com/eb-media/24/20124-004-BA5EECC1.jpg\r\n\r\nInspired by Justinian\'s 6th Century San Vitale at Ravenna Church a Byzantine style construction, the Palatine Chapel offers a Middle Eastern and Oriental impression with its octagonal shape, striped arches, marbled floors, rich mosaics inlayed with gold, and the ambulatory.  Materials used in the construction of the Palatine Chapel included stone, marble, glass, stucco, and wood.” (Conant page 43).  A mosaic-faced dome constructed as a series of groin vaults opposite the entrance, on both levels, was the sanctuary. High quality brass is used extensively in decorations and as part of the architecture; doors and hand rails at the clerestory level are only a few examples. The mosaics depict Christ surrounded by the twenty-four Elders of the Apocalypse (see image) heavily adorned in gold. The massive circular brass chandelier, measuring more than fourteen feet in diameter was a gift from Holy Roman Emperor Frederick I (Barbarossa) in the twelfth century.\r\n\r\nFrescoes destroyed by fire were replaced with a mosaic in 1882 and have the same stylistic quality and iconoclastic representations as the original fresco.  The Octagon is topped off with cupola, rising 102 feet above the floor and for centuries, the tallest in Europe for many centuries. The church measures “about 300 feet on the principal and transverse axes.” (Conant) On the lower level an ambulatory with dark sandstone ceiling in a groin vault construction surrounds the octagon. Those vaults, remarkable for the absence of transverse arches—Odo’s own innovation—are supported at the angles of the octagon on large piers that also carry a semicircular dividing arcade. The upper level of the ambulatory is roofed with a ring-shaped barrel vault and is separated from the octagon by a screen of two pairs of superimposed marble, porphyry, and granite columns within wide arched openings. At right angles to the main axis of the Chapel, and reached at both levels through the sanctuary, were once mirrored north and south annexes.\r\n\r\nAt the time of the construction of the Palatine Chapel Charlemagne had been expanding his kingdom by conquering large territories; even venturing into Spain to support the natives of Spain in their efforts to remove Arab control. Charlemagne organized the Marca Hispanica (Spanish March) across the Pyrenees and retook Girona in 785 and Barcelona in 801, creating a stable safeguard from future Muslim aggression an established Frankish control in Iberia.\r\n\r\n[caption id=\"attachment_631\" align=\"aligncenter\" width=\"300\" caption=\"Charlemagne’s Empire\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls.gif\"><img class=\"size-medium wp-image-631\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/map04chrls-300x260.gif\" alt=\"\" width=\"300\" height=\"260\" /></a>[/caption]\r\n<p style=\"text-align: center\"><a href=\"http://www.fsmitha.com/h3/map04chrls.htm\">http://www.fsmitha.com/h3/map04chrls.htm</a></p>\r\nThis campaign resulted in a buffer protecting the Empire from the Muslims as well as adding to Charlemagne’s conquests. And with this the empire enjoyed a relative calm.  The political elements of the empire created the feudal society that was to dominate the dark ages.  Frankish aristocrats were selected by the ruler, Charlemagne, as nobility over a given province and representatives of the central authority of the realm. With this title came executive responsibilities, judicial authority, and military control. For this service, the counts were awarded estates and, through the profits of the estates and their position, more wealth. As the Empire expanded the political, social and economic landscape changed, at least for the wealthy noblemen and the empire.  Trade routes were established, a marked emphasis on education, music and poetry gained new audiences and there was discord between the Byzantine (dominant language was Greek) and the Roman Churches (dominant language was Latin). Veneration of icons (iconoclasm) was condemned across all of Christendom.  However, the poor of the realm continued their lives as before; at the mercy of his overlord, his King, and Mother Nature. They toiled to grow crops, raise livestock, and scratch out their living.  For them, nothing had changed.  In the period between the 700 and 1000 A.D., also known as the dark ages, Islamic culture and the Byzantine civilization thrived resulting in societies that surpassed the European developing cultures vastly.   In Europe, peasants, nobles, and clergyman labored passed the downfall of the Roman Empire, reinventing their worlds. During this time in Europe, there is a marked disinterest in scholarly pursuits or academic work, creativity and advancements in arts, and no science. Though it is noted that, “there were scholars who were desperately trying to keep learning alive.” (Kries) A glaring counter point to the Classical periods; juxtaposed against the early Middle Ages, Rome and Greece give off a more radiant impression, even in the worst days of Roman and Greek history.\r\n\r\nArchitectural fervor gripped the Church with an estimated new-build or restored religious structures to include 16 cathedrals and 232 monasteries during Charlemagne’s reign. Was this ambitious undertaking directly attributable to Charlemagne? Indirectly and through his associations with clerics like Angilbert, Charlemagne’s “friend and advisor, he did cause the great construction of religious building because, as Stalley states, “The relative stability which these vast territories enjoyed was to a large degree the product of Charlemagne’s ferocious military energy and the wisdom of his administration, a stability which helped to nourish the more grandiose architectural ambitions of the age.” (Stalley, page 37, 38)  It is also noted that when he came across ruins of a Church in ruins in his travels throughout the vast Empire, Charlemagne often ordered church officials to rebuild the “sacred edifices.”\r\n\r\nOne of Charlemagne’s endeavors was the Palatine Chapel. This building is not, as it might seem upon first blush, a replica of Roman construction but there is sophistication in its style and execution which scholars find a creditable heir to the works in Antiquity. Though it does resemble S. Vitale in Ravenna, the Palatine Chapel is more Roman than Byzantine and historians note these influences of ancient Roman there are certainly contemporary influences of Visigoth, Moorish, Byzantine and even Armenian. The overall design is much more complex than that of other churches of the day.  One of the most important Carolingian contributions to Western architectural traditions is the addition of the westwork to the church.\r\n\r\nCharlemagne’s own biographer, Einhard, had this to say about the Palatine Chapel: “[...] hence it was that he [Charlemagne] built the beautiful basilica at Aix-la-Chapelle, which he adorned with gold and silver and lamps, and with rails and doors of solid brass. He had the columns and marbles for this structure brought from Rome and Ravenna, for he could not find such as were suitable elsewhere. [...] He provided it with a great number of sacred vessels of gold and silver and with such a quantity of clerical robes that not even the doorkeepers who fill the humblest office in the church were obliged to wear their everyday clothes when in the exercise of their duties. “(Einhard) But more currently, praise comes from both lay and professionals in the architectural field. Dr. Paul Frankl (1880-1962) “Der Meister von Aachen ist ein vorzüglicher Techniker, die Kirche ist in allen Teilen gewolbt, er beherrscht Kreuzwolbung, Tonne und Kuppel, er arbeitet so solid, da der Bau heute noch keine Sprunge hat.” Translation:  “The Master of Aachen is an excellent technician, the church is vaulted in all parts, he dominated Kreuzwolbung, barrel and dome, he works so solid, because the construction still has not cracked.” (Frankl, page 18) Robert Stalley commented, “The design was simplified, however, and the Carolingian composition lacks the subtlety of the curved exedrae (architectural recess or niche) found in the Byzantine-inspired model.” Stalley continued, “Although frequently copied in later centuries, it was an exceptional monument…” (Stalley page 40)\r\n\r\nThe writer’s first impression was one of amazement but after more research into this impressive example of Early Christian Architecture and its connection to Charlemagne, a monumental figure of his time and revered for his genius in our own time.  The mosaics in picture form are truly spectacular but to cast ones’ eyes upon the brilliant architectural edifice is surely a wish that must be fulfilled. There is an intriguing combination of styles, expressions of religious faith, and contrasts between the relatively simple exterior and a stunning interior.  One photograph, and there are so many, is of a small niche: the walls are plaster painted white the accents in gold leaf. It was striking, luxurious, yet somehow, basic and simple. But most of all, the prospect of standing in the place where Charlemagne, Emperor of the Holy Roman Empire received his sacraments is for any aficionado of artistic beauty and history, the Palatine Chapel is perhaps a heaven on earth. (World Archeology)\r\n\r\n[caption id=\"attachment_643\" align=\"alignleft\" width=\"259\" caption=\"Palatine Chapel view at side of oratory\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/images.jpg\"><img class=\"size-full wp-image-643\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/images.jpg\" alt=\"Palatine Chapel view at side of oratory\" width=\"259\" height=\"194\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_648\" align=\"alignright\" width=\"300\" caption=\"exterior view of Germingny-des-Pres oratory\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6876.jpg\"><img class=\"size-medium wp-image-648\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6876-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_644\" align=\"alignleft\" width=\"264\" caption=\"Palatine Chapel interior view\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Picture3.jpg\"><img class=\"size-medium wp-image-644\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/Picture3-300x214.jpg\" alt=\"\" width=\"264\" height=\"188\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_638\" align=\"alignright\" width=\"173\" caption=\"Oratory at Germingny-des- Prés      \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/450px-Loire_Loiret_Germigny_tango7174.jpg\"><img class=\"size-medium wp-image-638\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/450px-Loire_Loiret_Germigny_tango7174-225x300.jpg\" alt=\"\" width=\"173\" height=\"231\" /></a>[/caption]\r\n\r\nComparing the Palatine Chapel with the Germingny-des- Prés, Loiret, Orléanais, France (the original destroyed by Vikings but later rebuilt in 806 as part of the Palace) one notes a remarkable dissimilarity though the two churches are of the same time period.\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://www.worldheritages.com/aachen-cathedral.html\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://www.worldheritages.com/aachen-cathedral.html</span></span></a></span></span><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\"> (upper left)</span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<span style=\"text-decoration: underline\"><span><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876</span></span></a></span></span></span><span><span style=\"font-size: 8pt;color: #1f497d\"> (right)</span></span>\r\n\r\n<span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\">http://elisabethdemoreau.wordpress.com/lost-tomb-2/</span></span></span><span style=\"font-size: 8pt;color: #1f497d\"><span style=\"font-size: 8pt;color: #1f497d\"> (above)</span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span style=\"text-decoration: underline\"><span style=\"font-size: 8pt;color: #1f497d\"><a href=\"http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg\"><span style=\"color: #1f497d\"><span style=\"color: #1f497d\">http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg</span></span></a> </span></span><span style=\"font-size: 8pt;color: #1f497d\"><span><span style=\"font-size: 8pt;color: #1f497d\">(right)</span></span><span> </span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\n<span style=\"font-size: 8pt;color: #1f497d\"><span>\r\n</span></span>\r\n\r\n<span style=\"font-size: 8pt;color: #1f497d\"><span> </span></span><span style=\"font-size: 8pt\"> </span>\r\n\r\nBoth the Palatine Chapel and the Germingny-des- Prés were constructed as only part of the palace grounds yet were an important ingredient in this dominantly Christian society. The exterior the Germingny-des-Pres indicates a stone construction that is quite unadorned while the Palatine Chapel includes spires, soaring arched windows with stained glass art, and the apse of the Germingny-des- Prés is low, round and small while the Palatine Chapel presents an elongated apse with those towering support columns. Examining the interior of the Germingny-des- Prés in comparison to the Palatine Chapel one first might find some similarities with the Moorish inspired striped archways and use of groin vaults. However, comparing the view of the interior of the Palatine Chapel at the left with its famous octagonal shape to that of the curvilinear aspects of the low ceilinged Germingny-des- Prés, a clear difference is noted. The expansive interior space of the Palatine Chapel is considered a remarkable feat of engineering for the times.\r\n\r\n[caption id=\"attachment_640\" align=\"alignright\" width=\"227\" caption=\"Germigny Des Pres&#039; dome ceiling\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_011.jpg\"><img class=\"size-full wp-image-640\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/290px-Germigny_Des_Pres_2007_011.jpg\" alt=\"\" width=\"227\" height=\"173\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_645\" align=\"alignleft\" width=\"249\" caption=\"Palatine Chapel image of Christ in dome ceiling\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/600.jpg\"><img class=\"size-medium wp-image-645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/600-300x200.jpg\" alt=\"\" width=\"249\" height=\"166\" /></a>[/caption]\r\n\r\n<a href=\"http://ookaboo.com/o/pictures/topic/59470/GermignydesPr%C3%A9s\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;! 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  /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<span style=\"font-size: 8pt\"><a href=\"http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg\">http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg </a></span><a href=\"http://commons.wikimedia.org/wiki/File:Germigny_Des_Pres_2007_01.jpg\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--> </a>\r\n\r\n<span style=\"font-size: 8pt\">(right)</span>\r\n\r\n<span><a href=\"http://www.funkystock.eu/Stock-Pictures-Photos-Images-Italy.html\">http://www.funkystock.eu/Stock-Pictures-Photos-Images-Italy.html</a></span> (left)\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nAs with the Palatine Chapel, Germigny-des-Prés is adorned with beautiful mosaics and remnants of mosaics within its walls. The dome features a mosaic, the church’s most precious period possession, the Ark of the Covenant image. An iconoclastic representation, this mosaic depicts the devotees of Jesus and not Jesus’ image.  The images in the Palatine Chapel indicate a delicate balance during the Iconoclastic period; a period of controversy within the Church, and show Jesus holding a manuscript; however, a nod to the Iconoclasts is the symbols at each side of the figure. The mosaic in the apse of the Palatine Chapel was originally a fresco reproduced in mosaic in the 18th century. The glass cubes and colored stone mosaic surrounded by stucco reliefs in the Germigny-des-Prés Apse is thought to be produce by an eastern artist.\r\n\r\n[caption id=\"attachment_642\" align=\"alignleft\" width=\"297\" caption=\"Plan view Palatine Chapel at Aachen\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/AaachenChapel.png\"><img class=\"size-medium wp-image-642\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/AaachenChapel-300x176.png\" alt=\"\" width=\"297\" height=\"174\" /></a>[/caption]\r\n\r\n[caption id=\"attachment_641\" align=\"alignright\" width=\"243\" caption=\"Plan view Oratory at Germingny-des- Prés      \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/3406261069_523956a114.jpg\"><img class=\"size-full wp-image-641\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/3406261069_523956a114.jpg\" alt=\"\" width=\"243\" height=\"237\" /></a>[/caption]\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n\r\n<span style=\"font-size: 8pt;line-height: 115%\"><a href=\"http://www.flickr.com/photos/30985866@N07/3406261037/\">http://www.flickr.com/photos/30985866@N07/3406261037 </a></span>Right\r\n\r\n<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE              MicrosoftInternetExplorer4              &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span><a href=\"http://www.thefullwiki.org/Palatine_Chapel_at_Aachen\">http://www.thefullwiki.org/Palatine_Chapel_at_Aachen</a></span> Left\r\n\r\nThe floor plan of the Palatine Chapel and the Germigny-des-Prés reveal a significant defference in the two buildings. The Germigny-des-Prés is built on the Greek-cross plan (see right image) at the east of the structure and is contained within a square, measuring thirty-two feet on each of the four sides while the Palatine Chapel is constructed in an octagonal shape with a web of interlacing supports. The Germigny-des- Prés features exterior apses unlike that of the Palatine Chapel (see left image).\r\n\r\nAs one of the most significant surviving archetypes of Carolingian architecture in the world today, the Palatine Chapel and is the historic rebirth of Early Christian and Byzantine structures. Scholars praise the Palatine inspired architecture. Impressions of S. Vitale in Ravenna and with some influences of ancient Roman perceived an antique revival of its day, and contemporary Visigoth, Moorish, Byzantine and even Armenian work are clearly embody in the Palatine Chapel.\r\n\r\nAs the burial place for Charlemagne, the historical significance of the Palatine Chapel is unmistakable. Indeed, the Palatine Chapel is inextricably connected to the monumental and historical figure, Charlemagne. Understanding even a microcosm of Charlemagne, the man, the King, the Conqueror, the ruler over the Holy Roman Empire, illustrates that is essential to preserve the Palatine Chapel as a relic; indeed, a relic which itself embraces precious relics within; the cloak of the Blessed Virgin; the swaddling-clothes of the Infant Jesus; the loin-cloth worn by Christ on the Cross; and the cloth on which lay the head of St. John the Baptist after his beheading to name only a few of the most important which in most cases were collected by Charlemagne himself.\r\nThe beauty and elegance found in the interior of the Chapel set against its an austere exterior offers the world a snapshot of a time of conflict within the church, a revolution in building methods and design, and a significant shift in the way artistic expression was rendered, and an era that defined the feudal system.  Additionally, Aachen Cathedral was designated a UNESCO (United Nations Educational, Scientific and Cultural Organization) paid homage this masterpiece of Carolingian architecture, the Aachen Palace and its Cathedral, the Palatine Chapel, by designating it a World Heritage site in 1978. (Kreis)\r\nIt is imperative that we preserve for our future generations the history not only of the Palatine Chapel but that of the architectural, political, religious, artistic metamorphosis it represents; Byzantine, Classical Roman, Oriental influences, struggles within the church, and the birth of the feudal system.  It is not overstated to argue that the Palatine Chapel represents a slice of our world history spanning centuries. It is for these reasons that the structure along with its relics, art, and history must be considered for inclusion in the time capsule.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">CITED WORKS</p>\r\nTrachtenberg, Marvin and Hyman, Isabelle. Architecture, from Prehistory to Post-Modernism. Prentice-Hall, Englewood Cliffs, N.J.  1986. discussion p186-87.\r\nKreis Phd, Steven. Charlemagne and the Carolingian Renaissance. The History Guide. August 3, 2009... lecture 20\r\nhttp://www.britannica.com/EBchecked/topic/425185/Odo-of-Metz\r\n\r\nhttp://www.historyguide.org, is hosted by Readyhosting.com, with servers located in Burlington, MA. – on line library source)\r\nEinhard: \"The Life of Charlemagne\", translated by Samuel Epes Turner. New York: Harper &amp; Brothers. 1880.\r\nConant, Kenneth John, Carolingian and Romanesque Architecture 800 to 1200, Penguin Books: Harmondsworth, 1959.\r\nConant, Kenneth John, The Pelican History of Art, Carolingian and Romanesque Architecture 800-1200. Penguin Books, Middlesex, England. 1974\r\nStalley, Roger. Early Medieval Architecture, Oxford History of Art. Oxford University Press, Oxford, England. 1999\r\nFrankl, Dr. Paul. Handbuch Der Kunstwissenschaft. Handbook of Aesthetics. Construction of the Middle Ages. Academic Press Athenaion, Wildpark-Potsdam. Leipzig, Germany. 1926\r\nMoreland, John and Van de Noort, Robert. Integration and Social Reproduction in the Carolingian Empire. World Archaeology, Vol.23, No.3. Archaeology of Empires. Taylor &amp; Francis. Ltd. Abingdon Oxfordshire, England. 2/1992, (page 320-334)\r\nWorld Archaeology © 1992 Taylor &amp; Francis, Ltd.- http://www.jstor.org/pss/124766\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><span><a href=\"http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg\"><span style=\"font-size: 8pt;line-height: 115%\">http://en.wikipedia.org/wiki/File:Loire_Loiret_Germigny_tango7174.jpg</span></a></span></div>','Charlemagne’s Palatine Chapel','','publish','open','open','','charlemagne%e2%80%99s-palatine-chapel','','','2011-03-21 20:03:17','2011-03-22 02:03:17','',0,'http://jeanatacc.com/2011/?p=619',0,'post','',6),(620,7,'2011-03-09 20:28:30','2011-03-10 02:28:30','','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision','','','2011-03-09 20:28:30','2011-03-10 02:28:30','',619,'http://jeanatacc.com/2011/?p=620',0,'revision','',0),(621,23,'2011-03-09 20:29:54','2011-03-10 02:29:54',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\n\n\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.\n\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \n\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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \n\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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \n\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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \n\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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \n\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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \n\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.  \n\n\nSturm, James L. <em>Stained Glass from Medieval Times to the Present</em>. New York: E.P. Dutton, Inc., 1982. Print. \n\nBrisac, Catherine. <em>A Thousand Years of Stained Glass</em>. Garden City, New York: Doubleday &amp; Company, Inc, 1986. Print. \n\nKaye, Nicholas, Marcel Aubert, and Simone Goubet. <em>Gothic Cathedrals of France and their Treasures</em>. London, England: Adlard and Son, Ltd., 1959. Print. \n\n\"The Illuminated Church and the Rayonnant Style\". <em>Arts and Humanities Through the Eras.</em>\nEd. Edward I. Bleiberg, et al. \nVol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 45-49. <em>Gale Virtual Reference Library</em>. Web 3 Mar 2011\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\n\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\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\n\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\n\nhttp://www.discoverfrance.net/France/Cathedrals/Paris/Sainte-Chapelle\n\nhttp://www.sacred-destinations.com/france/paris-sainte-chapelle\n\nGiblin, J.C.. \" Miracles of color and light.\" <em>Cricket </em>18.10 (1991): 26. <em>Masterfile Premier.</em> EBSCO. Web. 22 Feb. 2011\n\nRaguin, Virginia Chieffo. \" The Isaiah Master of the Sainte-Chapelle in Burgundy.\" <em>Art Bulletin </em> 59.4 (1977) \n','DONJAY','','inherit','open','open','','591-revision-17','','','2011-03-09 20:29:54','2011-03-10 02:29:54','',591,'http://jeanatacc.com/2011/?p=621',0,'revision','',0),(622,23,'2011-03-09 20:32:59','2011-03-10 02:32:59',' \nhttp://www.flickr.com/photos/dawnae/5163376545/\nhttp://www.flickr.com/x/t/0099009/photos/dawnae/5163376545/ .jpg\n\n\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.\n\nhttp://www.flickr.com/photos/realrabbit/4900305947/ \nhttp://www.flickr.com/x/t/0099009/photos/realrabbit/4900305947/ \n\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.  \n \nhttp://www.flickr.com/photos/22541241@N06/2582836127/\nhttp://www.flickr.com/x/t/0093009/photos/22541241@N06/2582836127/ \n\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.\n \nhttp://www.flickr.com/photos/duncanc/131471204/\n http://www.flickr.com/x/t/0097009/photos/duncanc/131471204/ \n\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.\n\n http://www.flickr.com/photos/oric1/3191545715/\nhttp://www.flickr.com/x/t/0099009/photos/oric1/3191545715/ \n\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.\n \nhttp://www.flickr.com/photos/vt_professor/3670884128/\nhttp://www.flickr.com/x/t/0091009/photos/vt_professor/3670884128/ \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188778491/in/photostream/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188778491/ \n\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. \n\n http://www.flickr.com/photos/bartpalka/4835794091/\n http://www.flickr.com/x/t/0096009/photos/bartpalka/4835794091/.jpg \n\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.\n \nhttp://www.flickr.com/photos/12152206@N03/3188777843/\nhttp://www.flickr.com/x/t/0090009/photos/12152206@N03/3188777843/ \n\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.\n \nhttp://www.flickr.com/photos/29512749@N07/4235571358/\nhttp://www.flickr.com/x/t/0091009/photos/29512749@N07/4235571358/ \n\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.\n\nhttp://www.flickr.com/photos/12152206@N03/3194689819/\nhttp://www.flickr.com/x/t/0092009/photos/12152206@N03/3194689819/ \n\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.  \n\n\n\nWORKS CITED\n\n\nSturm, James L. <em>Stained Glass from Medieval Times to the Present</em>. New York: E.P. Dutton, Inc., 1982. Print. \n\nBrisac, Catherine. <em>A Thousand Years of Stained Glass</em>. Garden City, New York: Doubleday &amp; Company, Inc, 1986. Print. \n\nKaye, Nicholas, Marcel Aubert, and Simone Goubet. <em>Gothic Cathedrals of France and their Treasures</em>. London, England: Adlard and Son, Ltd., 1959. Print. \n\n\"The Illuminated Church and the Rayonnant Style\". <em>Arts and Humanities Through the Eras.</em>\nEd. Edward I. Bleiberg, et al. \nVol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 45-49. <em>Gale Virtual Reference Library</em>. Web 3 Mar 2011\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\n\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\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\n\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\n\nhttp://www.discoverfrance.net/France/Cathedrals/Paris/Sainte-Chapelle\n\nhttp://www.sacred-destinations.com/france/paris-sainte-chapelle\n\nGiblin, J.C.. \" Miracles of color and light.\" <em>Cricket </em>18.10 (1991): 26. <em>Masterfile Premier.</em> EBSCO. Web. 22 Feb. 2011\n\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\n','DONJAY','','inherit','open','open','','591-revision-18','','','2011-03-09 20:32:59','2011-03-10 02:32:59','',591,'http://jeanatacc.com/2011/?p=622',0,'revision','',0),(623,7,'2011-03-09 20:33:55','2011-03-10 02:33:55','','20124-004-BA5EECC1','View of Octagon and chandelier in the Palatine Chapel                               ','inherit','open','open','','20124-004-ba5eecc1','','','2011-03-09 20:33:55','2011-03-10 02:33:55','',619,'http://jeanatacc.com/2011/wp-content/uploads/2011/03/20124-004-BA5EECC1.jpg',0,'attachment','image/jpeg',0),(624,7,'2011-03-09 20:30:07','2011-03-10 02:30:07','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. \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.\nhttp://www.fsmitha.com/h3/map04chrls.htm 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. \n\n\n\n\n\n\n\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 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.  With 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. \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\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) \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\n\n\n\nJesus with manuscript “I am the light…”		                             Arc of the Covenant, Germigny-des-Prés	\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. \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. \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\n\n\n\n\nCITED WORKS\n\n\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\n','Charlemagne’s Palatine Chapel','','inherit','open','open','','619-revision-2','','','2011-03-09 20:30:07','2011-03-10 02:30:07','',619,'http://jeanatacc.com/2011/?p=624',0,'revision','',0),(625,7,'2011-03-09 20:35:32','2011-03-10 02:35:32','<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.  With 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-3','','','2011-03-09 20:35:32','2011-03-10 02:35:32','',619,'http://jeanatacc.com/2011/?p=625',0,'revision','',0),(626,7,'2011-03-09 20:37:24','2011-03-10 02:37:24','<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-4','','','2011-03-09 20:37:24','2011-03-10 02:37:24','',619,'http://jeanatacc.com/2011/?p=626',0,'revision','',0),(627,23,'2011-03-09 20:33:38','2011-03-10 02:33:38',' \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-19','','','2011-03-09 20:33:38','2011-03-10 02:33:38','',591,'http://jeanatacc.com/2011/?p=627',0,'revision','',0),