What is a lancet arch in Gothic. Gothic architecture. The tower is so cute

What else to write about at Christmas, if not about temples!

Happy holiday everyone!

Notre Dame Cathedral. Why don't we take him to pieces?

Well, shall we continue?

I have seen a lot of similar "dictionaries" and "encyclopedias", but you will hardly find interesting ones among them, usually these are boring "dry" reference books. Let's try to find something interesting in this! I myself, together with you, will take care of self-destruction.

The evolution of the Gothic window (top to bottom, left to right)

Tympanum. When square doors were inscribed in the semicircular arch of the portal, the question arose - what to do with the semicircular kokoshnik above the doors (this seemingly unnecessary detail was called a tympanum)? It is not worth leaving empty; they began to decorate it with figures. As you know, Gothic does not like semicircles, over such tympanums they began to install archivolt rainbows, and even higher - wimpers. Or a little differently, depending on the imagination of the architect.

This kokoshnik above the opening, decorated with a quatrefoil, is a tympanum. On the portals (above) you could see a variety of options for its decor.

Tympanum of the Cathedral of Cluny

Tympanum at Notre Dame de Paris

Travea . A transverse spatial cell, which is one of the structural units of the internal organization of the cathedral. It was usually limited to six heels of the columns on which the arches rested. The number of ribbed tents crowning them also depended on the number of herbs. Something like this.

Triforium . This is such a narrow gallery, decorated with an arcade. It passed in the thickness of the partition that separated the main nave from the side ones. Often it was a series of triple arcades, hence the name. The passage could be real, priests (or hunchbacked ringers) could walk along the triforium, but often it was made false, decorative.

Above - a row of triple windows, this is a triforium

Fiala (Fial) I already talked about her when I wrote about the pinnacle. The phiale could not only be on the pinnacle, it also adorned other details, for example, the vertical protrusions of the buttresses.

The turret is a pinnacle, the tip is a phiale, at the very top is a cruciferous

Empores. Tribunes or galleries, a larger triforium. Separate rooms, for example, for women or royalty. Sometimes they are identified with the choirs, as they were located in the upper tiers of the cathedral. Oddly enough, they are also false (or imaginary) - it seems that there are openings, but there are no empora.

What else is there in a Gothic cathedral?

The tower is so cute

I don't know what it's called, but it's cute

19 seating stalls in Bayeux

stained glass

This is how we basically got it. Now you, enriched with knowledge, can safely go to look at the Gothic cathedrals, knowing how everything is called there, and I went to bed.

From Wikipedia, the free encyclopedia

Lancet or broken arch- a kind of architectural arch, which is a figure of two semicircular arches intersecting at some angle. It is one of the characteristic building techniques of Gothic architecture.

Origin and borrowing

The origin of the lancet arch dates back to the 6th century, when it gradually began to be used on the basis of special calculations in the architecture of Cairo. From the 7th century, the pointed arch was used by the architects of Alexandria. The calculations were originally made on the basis of a triangle drawn on the diagonal of a pyramid with a square base, in which the vertical plane, lowered from the top parallel to the side of the base, creates an equilateral triangle.

In the architecture of the eastern countries and Byzantium, semicircular and lancet arches were used simultaneously, while the lancet arch was more often used in the architecture of Cairo and Persia. On broken arches, sails and spheroidal tromps were erected here. The crusader states that arose at the beginning of the 12th century on the territory of the Levant began to use the broken arches common here in the architecture of their buildings. At the same time, the borrowing of the lancet form of the arch by European, primarily French architects took place, which became the result of the development of pilgrimage to the eastern shrines and the implementation of the first crusades. It is believed that the architects of Cluniy Abbey, who created their own architectural school, were the first to borrow and apply the lancet arch.
The borrowing of the lancet arch took place within the framework of the Romanesque architecture that dominated Europe, therefore, the form of broken arches appears here as part of the Romanesque buildings. As Auguste Choisy wrote, "starting from 1100, Romanesque architects made extensive use of the lancet arch, showing a surprising understanding of the advantages that could be derived from its weakened thrust". In his opinion, Gothic architects adopted the broken arch from the Romanesque out of imitation, initially not even fully realizing its static advantages. That is why in early Gothic architecture the lancet arch was originally used on a par with the semicircular. Such combinations are clearly visible, for example, in the design of the choirs of the Noyon Cathedral (XII-XIII centuries) and the abbey church of Saint-Germain-des-Pres (XI-XII centuries).
In the triforium of the Church of Saint-Germain-des-Prés, the lancet arch is present solely for decorative purposes, and in the upper and lower main floors of the choir, it is used only to align the height of the locks of the rounding arches with the locks of the arches of the straight part of the plan. It was the desire to set the cheek and diagonal arches of the vaults on the same level that prompted the Romanesque, and then the Gothic architects, to introduce a broken arch shape into the cross vaults erected on the basis of a semicircular diagonal arch. It can be said that until the 13th century, Gothic cross vaults, erected on ribs, had a mostly semicircular outline, and not lancet. As Eugène Viollet-le-Duc wrote, “in all the Cluniac and Cistercian monuments of architecture built in Palestine before the 13th century ... using the lancet form in the construction of arches, the Romanesque system of construction is still preserved. But in none of these structures is the lancet arch used to modify the Roman cross vault ... But as soon as it is introduced in the French provinces north of the Loire, the lancet arch connects to the vault and modifies it " .

Development in Gothic architecture

Having borrowed the lancet shape of the arch, the French architects eventually completely replaced the semicircular one with it when erecting vaults and domes, one of the first examples of which is the vaults of the narthex of the Basilica of St. Mary Magdalene in Vézelay Abbey, erected in 1135.

The lancet arch allowed Gothic architects to design vaults more freely on a rectangular base while carefully respecting the principle of proportionality.

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Notes

Literature

• Viollet-le-Duc, Eugene Emmanuel. Encyclopedia of Gothic Architecture / transl. from fr. S. Batalina. - M .: EKSMO - Our Word, 2013. - S. 335-348. - 512 p. - (World heritage). - ISBN 978-5-699-60674-0.
• Choisy, Auguste. History of architecture / trans. from fr. E. G. Denisova. - M .: Publishing house of the All-Union Academy of Architecture, 1937. - T. II. - 694 p.

An excerpt characterizing the pointed arch

Russian troops passed through Moscow from two o'clock in the morning until two o'clock in the afternoon, dragging the last departing residents and the wounded with them.
The biggest crush during the movement of troops took place on the bridges Kamenny, Moskvoretsky and Yauzsky.
While, bifurcated around the Kremlin, the troops huddled on the Moskvoretsky and Kamenny bridges, a huge number of soldiers, taking advantage of the stop and cramped conditions, returned back from the bridges and stealthily and silently snuck past St. Basil the Blessed and under the Borovitsky Gates back up the mountain to Red Square, on which, by some instinct, they felt that they could easily take someone else's. The same crowd of people, as on cheap goods, filled the Gostiny Dvor in all its passages and passages. But there were no affectionately sugary, enticing voices of the Gostinodvorets, there were no pedlars and a motley crowd of female buyers - there were only uniforms and overcoats of soldiers without guns, who silently went out with burdens and entered the ranks without a burden. Merchants and inmates (there were few of them), as if lost, walked among the soldiers, unlocked and locked their shops, and carried their goods somewhere with the good fellows. Drummers stood on the square near Gostiny Dvor and beat the assembly. But the sound of the drum made the soldiers of the robbers not, as before, run to the call, but, on the contrary, forced them to run further away from the drum. Between the soldiers, along the benches and aisles, one could see people in gray caftans and with shaved heads. Two officers, one in a uniform scarf, on a thin dark gray horse, the other in an overcoat, stood on foot at the corner of Ilyinka and were talking about something. A third officer galloped up to them.
- The general ordered to expel everyone now at all costs. What the hell, it doesn't look like anything! Half the people fled.
“Where are you going? .. Where are you going? ..” he shouted at three infantry soldiers, who, without guns, picking up the skirts of their overcoats, slipped past him into the ranks. - Stop, rascals!
Yes, please collect them! replied another officer. - You won't collect them; we must go quickly so that the latter do not leave, that's all!
– How to go? there they became, hid on the bridge and did not move. Or put a chain so that the latter do not run away?
- Yes, go there! Drive them out! shouted the senior officer.
An officer in a scarf dismounted from his horse, called the drummer and entered with him under the arches. Several soldiers rushed to run in a crowd. The merchant, with red pimples on his cheeks near his nose, with a calmly unshakable expression of calculation on his well-fed face, hurriedly and dapperly, waving his arms, approached the officer.
“Your honor,” he said, “do me a favour, protect me. We do not calculate a trifle of any kind, we are with our pleasure! Please, I’ll take out the cloth now, for a noble person at least two pieces, with our pleasure! Because we feel, well, this is one robbery! Please! They would put a guard, or something, at least they would let them lock it up ...
Several merchants crowded around the officer.
- E! in vain to lie then! - said one of them, thin, with a stern face. “When you take off your head, you don’t cry for your hair. Take whatever you like! And he waved his hand with an energetic gesture and turned sideways to the officer.
“It’s good for you, Ivan Sidoritch, to speak,” the first merchant spoke angrily. “Please, your honor.
- What should I say! the thin man shouted. - I have here in three shops for a hundred thousand goods. Will you save when the army is gone. Eh, people, God's power cannot be folded with hands!
“Please, your honor,” said the first merchant, bowing. The officer stood in bewilderment, and hesitation was visible on his face.
- Yes, what's the matter with me! he suddenly shouted and walked with quick steps forward along the row. In one open shop, blows and curses were heard, and while the officer was approaching it, a man in a gray coat and with a shaved head jumped out of the door.
This man, bent over, slipped past the merchants and the officer. The officer attacked the soldiers who were in the shop. But at this time, the terrible cries of a huge crowd were heard on the Moskvoretsky bridge, and the officer ran out into the square.
- What's happened? What's happened? he asked, but his comrade was already galloping towards the screams, past St. Basil the Blessed. The officer mounted and rode after him. When he drove up to the bridge, he saw two cannons removed from the limbers, infantry walking along the bridge, several carts thrown down, several frightened faces and laughing faces of soldiers. Near the cannons stood one wagon drawn by a pair. Four collared greyhounds huddled behind the cart behind the wheels. There was a mountain of things on the wagon, and at the very top, next to the nursery, a woman was sitting with her legs turned upside down, squealing piercingly and desperately. The comrades told the officer that the cry of the crowd and the squeals of the woman came from the fact that General Yermolov, who had run into this crowd, having learned that the soldiers were dispersing around the shops, and crowds of residents were damming up the bridge, ordered to remove the guns from the limbers and make an example that he would shoot at the bridge . The crowd, knocking down the wagons, crushing each other, shouted desperately, crowding, cleared the bridge, and the troops moved forward.

Meanwhile, the city itself was empty. There was hardly anyone on the streets. The gates and shops were all locked; in some places, near the taverns, lonely cries or drunken singing were heard. No one traveled the streets, and footsteps of pedestrians were rarely heard. On Povarskaya it was completely quiet and deserted. In the huge yard of the Rostovs' house, there were scraps of hay, droppings of a convoy that had left, and not a single person was visible. In the Rostovs' house, which was left with all its goodness, two people were in a large living room. They were the janitor Ignat and the Cossack Mishka, Vasilyich's grandson, who remained in Moscow with his grandfather. Mishka opened the clavichords and played them with one finger. The janitor, akimbo and smiling joyfully, stood in front of a large mirror.

An arch formed by two convex semi-arches intersecting at an angle at the apex and arcs outlined from two or more centers with radii of more than half the length of the span

(Bulgarian; Bulgarian) - swept [island] dga

(Czech; Čeština) - hrotity oblouk

(German language; Deutsch) - Spitzbogen

(Hungarian; Magyar) - csúcsív boltív

(Mongolian) - suman guldan

(Polish language; Polska) -Luk strzelisty

(Romanian; Român) - arc ogival

(Serbo-Croatian; Srpski jezik; Hrvatski jezik) - gotski luk

(Spanish; Español) - arco ojival; arco ojivo

(English language; English) - equilateral pointed arch; gothic arch

(French language; Français) - arc brisé; arc en ogive

Source: Building Glossary in 12 languages

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"ARCED ARCH" in books

271. TRIUMPHAL ARCH