{[Gothic Art (3) [continued (3)]] Saintly Kings [continued (3)]}[15th March 1991]

[Redbook8:339-340][19910315:1000aa]{[Gothic Art (3) [continued (3)]] Saintly Kings [continued (3)]}[15th March 1991]

19910315.1000

[continued]

‘But even as this fashion for magnificence was being established in England, something more restrained was being evolved in France where royal tombs were normally composed of alabaster effigies on black marble sarcophagi. Color was in general limited to costume detail, accoutrements, and heraldry. The best examples of this style also survive in England, one of them, in Westminster Abbey, to Queen Philippa of Hainault, actually designed and made c[irca] 1365-7 by the French court sculptor Jean Hennequin de Liege (fl[ourished] 1361-82). In the same tradition is the monument to Edward II (in Gloucester Cathedral; c[irca] 1330-5); but this has in addition a fantastic canopy which, apart from a few English derivations and some unexplained parallels at Avignon,* stands outside the canon of general European taste.

**

*ie in Provence – where the Papal court moved (from Rome) in 1305 [/1309? until 1377].

**[– ibid (Encylopaedia of Visual Art 4: 605-607)]

[continued]

[PostedBlogger31122023]

{[Gothic Art (3) [continued]] Saintly Kings [continued]}[15th March 1991]

[Redbook8:338-339][19910315:1000z]{[Gothic Art (3) [continued]] Saintly Kings [continued]}[15th March 1991]

19910315.1000

[continued]

‘In Westminster Abbey, the most important monument for its style is that of Edmund Crouchback* (ob. 1296) which with its great canopy, multiple gables and pinnacles, numerous figures, and lavish colouring set a standard of decorative ostentation which influenced English sculptors for the next half-century. However, this particular decorative ideal had probably in its turn been influenced by the work of some itinerant Roman marble-workers, brought to the Abbey during the 1260’s and 1270’s to execute the presbytery pavement, the tomb of Henry III, the shrine of Edward the Confessor,** and a number of lesser items. These survive, an oddly foreign contribution to the ensemble. Henry III’s tomb (which is a Roman altar made to contain relics, and may have been originally intended for the body of St. Edward) was eventually completed by Edward I** with the addition of a bronze effigy of Henry by William Torrel (active 1290’s).

***

*Earl of Lancaster

and brother of Edward I

son of Henry III

**[See [Redbook6:4-5][19881008:1400c]{Raymond [continued]}[8th October 1988], footnotes, ante-penultimate paragraph, commencing: ‘The {eldest} son and heir of Henry III [King] of England & Eleanor of Provence was named Edward, ‘Treasure-guard’, a name not used for a King of England since Edward the Confessor/Saint, the original Patron Saint of England.’]

***[– ibid [Encylopaedia of Visual Art 4: 605-607)]

[continued]

[PostedBlogger29for30122023]

[Gothic Art (3)]{Saintly Kings}[15th March 1991]

[Redbook8:338-342][19910315:1000y][Gothic Art (3)]{Saintly Kings}[15th March 1991]

19910315.1000

[continued]

‘Part of the history of the secularisation of art lies in the increasing demand by secular patrons for personal memorials. Louis IX* [of France] was an important figure in this respect since he reorganised the remains of his Capetian ancestors and his own family into two mausolea, at Royamont and St-Denis, and provided a series of monuments for many of the remains....

**

*ref VI. [[Redbook6:3-6][19881008:1400b]{Raymond}[8th October 1988]] 3ff ‘Raymond’

↑See [[Redbook8:332][19910315:1000g][Gothic Art (2)(continued (26))][15th March 1991],] 332,

[[Redbook8:326-327][19910314:1020j][Gothic Art (2)(continued (16)):] High Gothic [14th March 1991],] 326

** [Encylopaedia of Visual Art 4: 605-607]

[continued]

[PostedBlogger29122023]

{Dynamic Ascent toward the Other [continued (4)]}[15th March 1991]

[Redbook8:338][19910315:1000x]{Dynamic Ascent toward the Other [continued (4)]}[15th March 1991]

19910315.1000

[continued]

Similarly,* the Gothic period** seems to be the central phase of a third ‘leap’ in the conception of the religious building, starting in the Romanesque period.*** Of course there were churches in Byzantine times, and interesting ones too, just as there were temples in Roman times, and so on; but the Gothic period does seem to share with the Greek temple-creation period (Archaic and early? Classical) and the great Egyptian pyramid-building period (c[irca] 2682-2345) a sense of dynamic ascent towards the Other, whether the afterlife particularly, gods, or God, which other times seem to lack. My knowledge of their common 2048J~ quadrant**** tendency, however, may affect my judgement!

*[See last previous ts entry]

**c[irca]1150 - c[irca]1400/1500

2048|J~1280|G~1536|CE

***c[irca]1050 – 1150

2048|A~1024|J~1280|CE

****

{

G~

↑

J~ ← A~

}

[The diagram in the ms roughly shows a 90-degree arc from A~ through J~ to G~]

[PostedBlogger24for28122023]

{Dynamic Ascent toward the Other [continued (3)]}[15th March 1991]

[Redbook8:337][19910315:1000w]{Dynamic Ascent toward the Other [continued (3)]}[15th March 1991]

19910315.1000

[continued]

My subjective impression of the great period of pre-Christian temple-building is that it ran from c[irca] 750BCE (Archaic Period to c[irca] 500BCE) * into the Classical period, (c[irca] 500 – 323BCE): that this at least was the period of innovation in the conception of the Temple.

*2048|J~768|G~512|R~256|BCE

[continued]

[PostedBlogger24for27122023]

{Dynamic Ascent toward the Other [continued]}[15th March 1991]

[Redbook8:337][19910315:1000v]{Dynamic Ascent toward the Other [continued]}[15th March 1991]

19910315.1000

[continued]

(C[ontra]:* ‘Ziggurat, pyramidical, stepped temple tower that is an architectural and religious structure characteristic of the major cities of Mesopotamia (now Iraq) from about 2200** until about 500 BC[E].’ (The great Ziggurat period was c[irca] 2048BCE, in the South))***

****

*[Ref last previous ts entry]

**(2048|R~2304|C2048|BCE)

***ref [[Redbook8:44-67][19901027ff]{Comparative Chronology}[27th October 1990],] 51↑

**** – E[ncyclopaedia] B[ritannica] 12:915

[continued]

[PostedBlogger24for26122023]

{Dynamic Ascent toward the Other}[15th March 1991]

[Redbook8:337-338][19910315:1000u]{Dynamic Ascent toward the Other}[15th March 1991]

19910315.1000

[continued]

Have I covered this before?* –

‘The pyramids of ancient Egypt were funerary edifices. They were built over a period of 2,700 years, ranging from the beginning of the Old Kingdom to the close of the Ptolomaic Period; but the time at which pyramid building reached its acme, the pyramid age par excellence, was that commencing with the 3^rd dynasty and ending with the 6^th (c[irca] 2686-2345BC[E]).’**

***

*{No (cf [[Redbook8:301-302][19910302:1808f]{Spiral, Squares, and Curves}[2nd March 1991],] 301}

**2048|J~2816|G~2560|R~2304|BCE

*** – E[ncyclopaedia] B[ritannica] 9: 823

[continued]

[PostedBlogger24for25122023]

[Gothic Art (2)(continued (39))][15th March 1991]

[Redbook8:336-337][19910315:1000t][Gothic Art (2)(continued (39))][15th March 1991]

19910315.1000

[continued]

‘... The entire upper half of the main elevation of St-Denis is a succession of huge windows, filled with patterns of window tracery. At the same time, huge rose windows were inserted into the transept ends: it is this particular “radiating” feature that has given the name “Rayonnant” to the architectural style as a whole. The lightness and grace* of this type of architecture remained a feature of most subsequent Gothic architectural development in France; the manipulations of the two features of St-Denis, the tracery** pattern and the tracery** screen, became the preoccupations that most occupied subsequent masons.’

***

****

*↑#(cf above)

{

↑[(Presumably,) [Redbook8:326-327][19910314:1020j][Gothic Art (2)(continued (16)):] High Gothic [14th March 1991],] 326,

↑[(Presumably,) [Redbook8:328][19910314:1020l][Gothic Art (2)(continued (18)):] High Gothic [continued (3)][14th March 1991],] 328

↓[(Presumably,) [Redbook8:342][19910314:1020#][Gothic Art (2)(continued (#)):] High Gothic [continued (#)][14th March 1991],] 342

↓[(Presumably,) [Redbook8:347][19910314:1020#][The Discovery of Light (3), Space and Expression (2) [continued (#)][14th March 1991],] 347

}

**[sic]

***– ibid [Encylopaedia of Visual Art 4:] 603

****(& on St-Denis, see also ibid [Encylopaedia of Visual Art 4:] 593-594 (East end) (& Illus[tration]), 597 (West end) (& Illus[tration]), 602 (Nave & transepts)

(See ibid [Encylopaedia of Visual Art 4:] 603 re Louis IX’s Sainte Chapelle)

(See E[ncylopaedia of] V[isual] A[rt 4:] 595 illus[tration] for 8- & 16- petalled rose window – most are 12)

#[More probably in the ms a slight rightward arced arrow, possibly representing the G~ arc]

[ms pages renumbered]

[PostedBlogger24122023]