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Extra resources for Arts And Humanities Through The Eras. Medieval Europe, 814-1450 C.E

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Thomson, and M. Winterbottom (Oxford: Clarendon Press: 1998): 418–419. G EOMETRY AND P LANNING ARCHITECTURE, BEAUTY, AND GEOMETRY. Modern observers are often filled with awe when they consider the combination of engineering and aesthetic sophistication required to achieve the complex structures that were evolving even in the early Middle Ages. Of the many stages involved in the construction of a medieval Symbolic Interpretations For the Templars, the various versions of the Holy Sepulchre that sprang up in their monastic houses throughout Europe during the twelfth century—for example, at London and Paris—all represented their charge to defend and maintain the sites of the Holy Land.

Brian Little, Architecture in Norman Britain (London: Batsford, 1985). Graham A. Loud, The Age of Robert Guiscard: Southern Italy and the Norman Conquest (New York: Longman, 2000). Arts and Humanities Through the Eras: Medieval Europe (814–1450) Architecture and Design SYMBOLIC Architecture: Copying the Church of the Holy Sepulchre centralized plan and common dedication to the Holy Sepulchre were sufficient to establish a compelling connection. Rather than an exacting copy, it was the meaning of the Holy Sepulchre as the place of the Crucifixion that was of paramount importance to the bishop.

Paul’s in Rome, presumably to provide a suitably impressive spatial setting around the tomb of the saint, but once revived, this cruciform plan became common in Christian architecture. Used at Saint-Denis, it served the dual purpose of linking the local saint with the prestige of the apostle Peter and of equating the Frankish kings, many of whom were buried there (including Charlemagne’s Wattle and daub: A building material consisting of wattle, a light mesh of laths or interwoven twigs, covered with mud, stucco, or brick.

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