Fenétre du dôme de Munster
Larry the Cat,
Das Goldene Buch der Stadt Münster
The new manner is one of the first effects of civilization, of the breaths, is counted from the year 1175 to the year 1250. Years of freedom which passed over the twelfth century. Military feudalism still shines in all its splendour; but the crusades have already undermined its forces, while the ecclesiastical tribunals divert its nationals and ruin its credit.
Monastic feudalism, having become prodigiously powerful, begins to excite the envy of the bishops, whom it dominates, and the reprobation of honest people, whom its morals scandalize. Finally, the cities have grown larger and richer; their bourgeoisies, more enlightened, have wrested charters of commune from their lords, or obtained the immediacy of emperors and kings. On the other hand, trade and the crusades, by putting Europe in contact with Asia, have awakened new tastes and needs, and at the same time introduced the means of satisfying them.
The marvels of the Orient have deeply impressed the tough warriors of Godfrey of Bouillon, Conrad III, Louis VII. Scarcely had they returned home than all sorts of strange forms were already invading Western art. First of all the ogive; and the trefoil, and the horseshoe and the most zigzagged, most festooned curves of Arab architecture. However, Western builders are not content to adopt purely and simply the decorative elements of Islam.
They assign them a specific place and function in the organization of their churches; they give them a value of their own, by submitting them to the strict laws of their architecture. Thus, the trefoil immediately finds its application in the arcades of portals (fig. 307), galleries, cloisters; soon it will replace the round arch even in the crowning arcades. The old forms are not neglected. The round arch maintains its rank in construction, competing by dint of mouldings and ornaments with the more animated and richer profiles of oriental art.
The ogive was called upon to take an incontestably greater part in the development of architecture in the Middle Ages. At the beginning, it is true, it was only used as a variety; it was applied timidly against the walls, where it tried to break the uniform lines of the false arcades. But this subordinate role did not suit it. Soon it springs up next to the semicircular arch in the arcades of the nave, from where it quickly reaches the vaults. It frequently happens, in churches of this period, that the eastern parts, those with which construction began, are executed in pure Romanesque, and that the nave already shows the characteristic forms of the transitional style.
The adoption of the pointed arch for the vaults reacted immediately on the configuration of the plan. First of all, it exempted the builders from restricting themselves to the square panels required by the groin vault. Instead of establishing their double aux of two by two pillars only, they were able to bend them on each pair of supports and double the compare precipitate the rhythm of its bays also, it soon found an echo in the departments of the roof. This happy arrangement seemed to enlarge the nave and apses, which were made polygonal and which were vaulted according to a similar system.
However, one strives more and more to slender the proportions, to divine structures on the surfaces, to re-enter the full ones. On the profile of the double aux arches is complicated by large tori separated by deep grooves. The diagonal edges of the vaults accentuate like real arches, whose projecting mouldings represent the armature, or framework, of the vault.
Portal at Heilsbronn
The arcades of the great nave are still more glassily outlined; and the pillars are adorned with half-columns for the projections of the arcades and the double-arched ares, and with corner columns for the ribs: modifications which bring them back to a regularly crucial section.
Thus, the forms become firmer, but the architecture becomes lighter. The energetic division of the vaults, the lively silhouette of the piers and archivolts gradually transform the heavy and severe character of the old construction. In churches as in cloisters, columns and columns are multiplied; they are placed in all the corners, against all the walls; they are erected sometimes in isolation, sometimes coupled, sometimes in larger groups.
It should be noted, moreover, that this research for effect, which is also manifested in the increase of the members in the exaggeration of the mouldings, does not yet alter the principles of construction. Even where the ogive reigns in the vaults, these remain solidly dressed over their entire perimeter, like groin vaults; and the ribs, which later will constitute their true structure, still form only a decorative network on their surface.
Capitals of Heiligenkreuz
The evolution of constructive forms corresponds to a parallel modification in the design of detail and ornament. The bases of columns, the abacus, the cornices are re-grooved and intersected; the mouldings accumulate and become accentuated.
The capitals are given the elegant curve of the inverted bell, the bell-shaped section; they are covered with picturesque foliage, whose fine and sharp ribs open out into vigorously folded crosiers (or hooks) (fig. 308.) Often also the columns, or even the pillars, are abruptly interrupted (hungry), or replaced by a sort of foliaged console placed directly under their abacus (cul-de-lamp or base).
The long and thin columns, which are used to cover the walls or to decorate the portals, are frequently repined in there by a ring or ring, composed of strong mouldings alternately protruding and hollow; they are then called ringed columns (fig. 307), these are made to compete with keystones cut in a rosette in the middle of each compartmentally, round shields are sculpted, more or less retroduced on the ribs. The windows participate in a large extent in the general movement. Arched or in third-point (ogival), they are now made wider and higher; they are grouped in twos or threes, they are combined with other forms.
If they are twinned, they are united under a common arcade, and a small bull's-eye or a trefoil is pierced in the axis of their tympanum; ternées, the middle one is developed at the expense of the two neighbours, and their mullions are flanked by small columns, from which fine mouldings emerge to frame them (fig. 309).
Fenétre du dôme de Munster
If the semicircular arch remains for the exterior bays, it does not exclude the ogive, the trifle, or the polylobed arches. The old ox-eyes begin to take on considerable proportions; they are transformed into rose windows, and receive a radiant decoration which sometimes achieves the most brilliant effect (see fig. 310).
Their usual place is above the western portal or in the gables of the transept arms. The portals always constitute the wealth and the main interest of the facades. They generally remain faithful to the arched form, although some are found that are cut in a trefoil or even an ogive shape.
Their columns, often ringed, increase in number and length; their bases, their capitals, and even their shafts disappear under networks of ornaments that also extend to the abacus, the archivolts and even the tympanums (fig. 307). Finally, the bell towers show a tendency to soar, their spires point more boldly towards the sky, between small pinnacles seated at their base on the corners of the masonry. As a result of these multiple transformations, the Romanesque style finally reaches a true splendor of expression.
It is true that often the form is only decorative, that the ornament is not always a faithful reflection of the construction, and that this is not yet logically developed, but one cannot help admiring the marvellous fertility of a style which, without departing from apparently rigid principles, has been able to create an infinity of motifs, several of which have already acquired their full value, and others of which will later serve to lead Christian architecture to its apogee.
In this country of initiative and invention called France, the transitional style had to give way early to a new form, both more logical and more brilliant, of which it was in short only the embryo. While on the other side of the Rhine, people remained much longer faithful to the Romanesque and its derivative, which were better suited to the conservative and somewhat heavy genius of the Germanic races. This explains the immense development that Romanesque art underwent in Germany, and authorizes us to study it first in this country, without wishing to claim that it was born there earlier than elsewhere.
It was under the powerful dynasty of the Saxon emperors that Middle Age society was reconstituted and that religious architecture, stemming from the Christian basilica, took off again. It was also in Germany that the Romanesque style penetrated most deeply into life, into the marrow of the people; that it was used most willingly, most generally and for the longest time; that it received its most complete and clearest expression.
We will see it progress there in a significantly uniform manner, although many deviations occurred in its progress, required by local circumstances, accidental or permanent, which will force us to follow its study from province to province. Flat-roofed basilica, the first Romanesque churches, as we have said above, were roofed with timber frames.
This primitive type prevailed and was maintained with rare persistence in some regions, where it acquired a development that was rather severe and logical than brilliant. Among this number is Saxony,() whose provinces have always reflected Germanic civilization in its most characteristic and purest features.
In fact, from the beginning of the 11th century, we find the basilica with fixed timber frames in its broad outlines: a transept with chapels, a choir with apse, a nave where the pillars alternate with the columns or else appear alone, a porch and two massive towers to the west; sometimes a third bell tower on the crossing.
Goldene Buch der Stadt Münster
Münster ist eine weltoffene Stadt, die auf mehr als 1200 Jahre Stadtgeschichte zurückblickt. Ob als Bischofssitz, Hansestadt, Hauptstadt der preußischen Provinz Westfalen, Universitätsstadt oder modernes Oberzentrum – schon immer hat Münster für die Region und weit darüber hinaus eine wichtige Rolle gespielt. Doch mit einem hat sich Münster in der Weltgeschichte einen Namen gemacht: als Stadt des Westfälischen Friedens.
Wertschätzung wie Geschichtsschreibung zugleich: Vertreterinnen und Vertreter der Gruppe der Sieben (G7) sowie der Europäischen Union (EU) trugen sich am 3. November 2022 in das Goldene Buch der Stadt Münster ein.
https://www.stadt-muenster.de/g7/startseite
Basilicas with columns are rare, and the cubic capital replaces the old bell-shaped form early on. The church of Gernrode in the Harz, built in 961, still bears the imprint of a singularly archaic style, although it has probably undergone many restorations since then.
It has two apses raised over crypts, one to the east, the other to the west; the latter, of more recent foundation, is flanked by two towers rounds which frame the very high and very heavy gable of the net. The transept protruding imitated from the antique; finally, something extraordinary for the time, traces of barley; the pillars of the nave alternate with columns with large capitals the church of the neighbouring Loevestein castle of galleries remain above the side aisles. - quedlinburg belongs to the end of the eleventh century; the style is clearer, and the details denote a freer and prouder interpretation of antique art.
Fünf Jahre lang verhandelten die europäischen Mächte in Münster und Osnabrück, bis sie den Dreißigjährigen Krieg in Europa beenden konnten. Der 24. Oktober 1648 war der offizielle Tag des Friedensschlusses. Dieses große Ereignis wurde vom Sommer 1648 bis zum Frühjahr 1649 mit zahlreichen Staatsakten und Festveranstaltungen gefeiert – und bis heute ist Münster als Stadt des Westfälischen Friedens untrennbar mit diesem Ereignis verbunden.
As an example of a columned basilica, we can cite that of hamersleben, with its beautiful choir and its original sculptures.-the churches of hildesheim (hanover show a much more ornate style: the dome first, then Saint-Godekard Saint-Michel, The church of Saint-Godehard dates from the year 1146 (see fig. 292). Its cher is surrounded by an ambulatory () with chapels, and its crossing provided with an octagonal tower, which picturesquely balances the masses of the two western bell towers That of Saint-Michel, even more considerable, has two choirs with transepts and apses, perimeter and crypt; a large bell tower on each crossing and an octagonal tower in front of each arm of the transept.
Die Bedingungen, unter denen verhandelt wurden, waren denkbar schwierig: es gab keinen Waffenstillstand, die Kriegshandlungen wurden ununterbrochen fortgeführt, ebenso wenig gab es international anerkannte und erprobte Regeln für solche Verhandlungen. Die Verhandlungen auf dem Weg zum Westfälischen Frieden gelten deshalb als wichtige Meilensteine auf dem Weg zu einer europäischen Friedensordnung und zur Entwicklung des heutigen Völkerrechtes.
Such was the general distribution of the church when it was erected in 1033. Later, in 1186, it was rebuilt following a fire, on the original data, but with great decorative luxury. The delicate ornaments which cover the archivolts, the capitals and the bases of the columns, the famous sculptures of the choir and the beautiful painted ceiling of the nave still bear witness to the former splendor of this old basilica. The constructions of Thuringia and Franconia are very similar to those of Saxony.
However, their naves do not often present the same alternation of pillars and columns; one finds rather the frank adoption of one or the other system. The church of the convent of Paulinzelle, founded in 1105, is a columned basilica of the best style. Its high torn walls and the superb porch which was added later make it one of the most picturesque ruins of the Thuringian Forest.
The dome of Würzburg was probably originally a simple basilica with pillars and a frame. The western façade, with its simple portal, its two towers and its poor building, dates back to the 11th century; its dimensions seem to indicate that the original nave was much smaller than that which was built at the beginning of the following century. In the Rhine provinces, () the architecture is inspired by the Roman monuments which dot the banks of the river.
It has Corinthian capitals and cornices with modillions; it willingly lightens its masonry by false arcades, and builds these in variegated courses which constitute a point of resemblance to the Christian architecture of the East. But the rich and powerful schools of the Rhine shake off the yoke of tradition early; they adopt the cubic capital; and a whole series of modifications that follow one after the other come to shorten the reign of the flat-roofed basilica.
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Essay D' Histoire de L'art Chapitre III. Le style roman. 2. L'architecture romane.
(2) V. L. Pattrich, Denkmale der Bankunst des Mittelalters in Sachsen, Leipaig Kugler und Ranke, die Schlosskirche zu Quedlinburg, etc.; H. W. Mithoff, Archiv für Niedersachsens Kunstgeschichte, Stuttgart, 1853; C. Schiller, die Mittelalterliche Architectur Braunschweigs, etc., Braunschweig, 1852. 1835-52; Lubke, Essal d'Histoire de l'Art. I. Paris French 1886.
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Das 1979 gegründete Bibelmuseum der Universität Münster ist dem Institut für neutestamentlich Textforschung angeschlossen. Es veranschaulicht die Geschichte der Bibel an über 1500 Exponaten von ihren handschriftlichen Anfängen bis heute.
Diese Breite der Darstellung macht das Besondere des Museums aus: kostbare Handschriften und Drucke des griechischen Neuen Testaments, kunstvoll gestaltete Polyglotten (mehrsprachige Ausgaben), die deutsche Bibel von den vorlutherischen Ausgaben über Luthers Übersetzung und die Ausgaben des 17./18. Jahrhunderts bis hin zu modernen Bibelübersetzungen, europäische und außereuropäische Übersetzungen und Bibelillustrationen. Das Schrift im Licht Christi, Seines Sohnes, und des Heiligen Geistes. Amen.
Essay D' Histoire de L'art Chapitre VI. Le style Lomanov, Dominique le Prue.
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