I chose this song because it reminded me a lot of what i think Gothic music is.
Forbidden Lullaby, I chose this song because it reminded me a lot of what i think Gothic music is and how it makes me feel when i listen to it. Which is generally sad and blue.
Gothic Music "Chansoneta Tedescha No. 1" - Classical Music and gothic architecture video. This channel contains the best "Classical Music" only. Baroque, Gothic, Classicism, Renaissance, Romantism and modern. Beside the Classical Masterpieces you´ll also find great videos that will support the orchestras with movies matching the content of the music recording.
The Romans copied the arch from the Persians, who had mastered the barrel vault. Basically a tunnel, Persians knew how to pour cement in this shape to create spaces. The Romans exploited the arch in their aqueducts and basilicas. The French did not invent the pointed arch, neither did they design it for light. The pointed arch is first seen in Islamic architecture, as it is superior in carrying weight to the round arch. As an advanced engineering solution that allowed each opening to carry more weight and therefor allow for taller buildings. The pointed arch was preferred in churches due to the belief that heaven was a place that could be reached by a ladder. The taller the church could go, the closer to heaven it would be. The taller stain glass windows was a consequence, not the intention.
The word "gothic" evokes images of the massive ornately decorated cathedrals built in medieval Europe. Learn more about the features and basic ideas that govern gothic architecture.
A little something to help you recognize and understand gothic architecture. Easy Architecture is a continuing web series that explains architecture to people of all ages so they might better understand their built environment.
As soon as the Gothic style acquire some popularity and a large number of churches, cathedrals and monasteries were built in different European capitals, the traditional fresco painting was declining as to be the medium of choice to decorate the walls, since these had been in that period largely replaced by huge multicolored stained glass windows. Through them light come from the outside showing beautiful and hypnotic paintings made by craftsmen glassmakers whose mastery during the Gothic period reached notorious splendor. The illuminated manuscripts in the Gothic period continued the custom to combine the colorful paintings with texts to contribute to its understanding and better illustrate the stories narrated. Although in the majority of those manuscripts these paintings are anonymous others have some discrete identification of the Illustrator who made them. It was not until nearly thirty years has pass since the Gothic architecture was already in the preference of the artists that happens an imperceptible transition in the representations of miniature paintings in manuscripts between the Romanesque period and the one made in the Gothic period. The religious characters start to be represented more natural and realistic in reference to human figures, with details on the representation of their anatomy, about of which those artist previously lack knowledge. The more important miniaturists were Jean Pucelle, Jacquemart of Hesdin and the Limbourg brothers.
Architecture was the most important and original art form during the Gothic period. The principal structural characteristics of Gothic architecture arose out of medieval masons' efforts to solve the problems associated with supporting heavy masonry ceiling vaults over wide spans. The problem was that the heavy stonework of the traditional arched barrel vault and the groin vault exerted a tremendous downward and outward pressure that tended to push the walls upon which the vault rested outward, thus collapsing them. A building's vertical supporting walls thus had to be made extremely thick and heavy in order to contain the barrel vault's outward thrust. The decorative features of these great churches were, on the whole, simple. In the second half of the 12th century it became fashionable, as at Laon cathedral, to "bind" the interior elevation together by series of colonettes, or small columns, set vertically in clusters. Again, as at Laon, much of the elaborate figured carving of Romanesque buildings was abandoned in favour of a highly simplified version of the classical Corinthian capital--usually called a "crocket" capital. Under the influence of Chartres cathedral, window tracery (decorative rib-work subdividing the window opening) was gradually evolved. During the period from about 1250 to 1300 European art was dominated for the first time by the art and architecture of France. The reasons for this are not clear, although it seems certain that they are connected with the influence of the court of King Louis IX (1226-70).By about 1220-30 it must have been clear that engineering expertise had pushed building sizes to limits beyond which it was unsafe to go. The last of these gigantic buildings, Beauvais cathedral, had a disastrous history, which included the collapse of its vaults, and it was never completed. In about 1230 architects became less interested in size and more interested in decoration. The result was the birth of what is known as the Rayonnant style (from the radiating character of the rose windows, which were one of its most prominent features). The earliest moves in this direction were at Amiens cathedral, where the choir triforium and clerestory were begun after 1236, and at Saint-Denis , where transepts and nave were begun after 1231. Architects opened up as much of the wall surface as possible, producing areas of glazing that ran from the top of the main arcade to the apex of the vault (). The combination of the triforium gallery and clerestory into one large glazed area had, of course, a unifying effect on the elevations. It produced an intricate play of tracery patterns and instantly unleashed an era of intense experiment into the form that these patterns should take. Many of the achievements of the Rayonnant architects are extremely fine--for instance, the two transept facades, begun during the 1250s, of Notre-Dame, Paris . The decorative effect of this architecture depends not only on the tracery of the windows but also on the spread of tracery patterns over areas of stonework and on architectural features such as gables.
Gothic art, the painting, sculpture, and architecture characteristic of the second of two great international eras that flourished in western and central Europe during the Middle Ages. The Architecture was the most important and original art form during the Gothic period. The principal structural characteristics of Gothic architecture arose out of medieval masons’ efforts to solve the problems associated with supporting heavy masonry ceiling vaults over wide spans. The problem was that the heavy stonework of the traditional arched barrel vault and the groin vault exerted a tremendous downward and outward pressure that tended to push the walls upon which the vault rested outward, thus collapsing them. A building’s vertical supporting walls thus had to be made extremely thick and heavy in order to contain the barrel vault’s outward thrust. The earliest surviving Gothic building was the abbey of Saint-Denis in Paris, begun in about 1140. Structures with similarly precise vaulting and chains of windows along the perimeter were soon begun with Notre-Dame de Paris (begun 1163) and Laon Cathedral (begun 1165). By this time it had become fashionable to treat the interior columns and ribs as if each was composed of a bunch of more slender parallel members. A series of four discrete horizontal levels or stories in the cathedral’s interior were evolved, beginning with a ground-level arcade, over which ran one or two galleries over which in turn ran an upper, windowed story called a clerestory. Early English churches also established other stylistic features that were to distinguish all of English Gothic: great length and little attention to height; a nearly equal emphasis on horizontal and vertical lines in the stringcourses and elevations of the interior; a square termination of the building’s eastern end rather than a semicircular eastern projection; scant use of flying buttresses; and a piecemeal, asymmetrical conception of the ground plan of the church.