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Pointed arch

A pointed arch is an architectural element consisting of two curved segments that meet at a sharp apex, forming a pointed crown rather than a rounded one, which enables more efficient load distribution by directing forces downward onto supports at a steeper angle.^[1] This design contrasts with the semicircular Roman arches used in earlier Romanesque architecture and allows for reduced lateral thrust, facilitating taller vaults and thinner walls.^[2] Originating in Islamic architecture as early as the 7th century, the pointed arch was adapted in Western Europe during the mid-12th century, marking a key innovation in the Gothic style.^[3] The pointed arch played a pivotal role in the Gothic architectural revolution, emerging prominently at the Basilica of Saint-Denis near Paris around 1144, where it supported ribbed vaults and expansive stained-glass windows to create brighter, more vertical interiors symbolizing spiritual aspiration.^[4] By channeling weight more effectively to slender columns and flying buttresses, it permitted unprecedented heights in cathedrals, such as those in France and England from the late 12th to 16th centuries, while minimizing the need for massive supporting walls.^[2] Variations like the lancet, equilateral, and flamboyant arches evolved over time, influencing decorative elements in doorways, windows, and arcades across medieval Europe.^[1] Beyond its structural advantages, the pointed arch contributed to the aesthetic emphasis on height and light in Gothic buildings, fostering a sense of divine elevation and openness that distinguished the style from preceding Romanesque forms.^[4] Its adoption spread through trade and cultural exchanges, particularly via Islamic influences in Spain, and later inspired revivals in the 19th century, though its primary legacy remains in enduring cathedrals like Notre-Dame de Paris and Chartres.^[3]

Definition and Structural Principles

Definition and Geometry

A pointed arch is an arch form composed of two or more circular arcs that converge to form a sharp angle at the apex, distinguishing it from the semicircular profile of a round arch.^[5] This configuration allows for varied proportions, enabling greater height relative to span compared to round arches.^[6] Geometrically, a pointed arch is typically constructed as a two-centered arch, where each side consists of a circular arc drawn from separate centers located outside the arch's span, usually below the springing line. The centers are positioned symmetrically such that the arcs originate at the springing points on either side of the span and intersect precisely at the apex, forming the pointed crown; the distance between the centers and the radius of each arc are determined by the desired span (horizontal width) and rise (vertical height to the apex).^[6] For equilateral (isosceles) forms, the two arcs have equal radii and the apex lies directly above the midpoint of the span, while non-equilateral variants may feature unequal radii for asymmetrical profiles.^[7] Key terminology includes the intrados, the inner curved surface of the arch; the extrados, the outer curved surface; the springing line, the horizontal baseline from which the arch rises; and the apex, the highest point where the arcs meet.^[7] The mathematical basis for the arc radius R in a symmetric two-centered pointed arch, with centers on the springing line, derives from circle geometry. To arrive at the solution, consider one side of the arch: the center of the arc is located on the springing line at a horizontal distance R from the springing point. The apex is at a horizontal distance s/2 from the springing point and height h above the springing line, so the horizontal distance from the center to the vertical line through the apex is R - s/2, the vertical distance is h, and the hypotenuse to the apex is R. By the Pythagorean theorem applied to this right triangle, the equation is (R - s/2)^2 + h^2 = R^2. Expanding yields R^2 - R s + s^2/4 + h^2 = R^2, simplifying to R s = s^2/4 + h^2, so R = \frac{s^2/4 + h^2}{s} = \frac{s}{4} + \frac{h^2}{s}. This formula provides the common radius for both arcs in the equilateral case.^[7]

Structural Advantages

The pointed arch directs vertical loads more efficiently downward along its legs compared to a round arch, minimizing the outward horizontal thrust on supporting abutments. This occurs because the converging curves meet at a sharp apex, where the angle between the legs is acute, allowing the resultant compressive forces to align more closely with the vertical direction. Vector analysis of forces at the apex reveals that the horizontal components partially cancel, reducing the net lateral force transmitted to the supports. In contrast, a round arch's semicircular profile distributes forces more evenly around the curve, leading to greater horizontal spread that requires stronger abutments to contain.^[8]^[9] This efficient load distribution enhances height and stability, enabling taller structures with thinner walls and larger spans while keeping the thrust line—the locus of resultant compressive forces—confined within the arch's profile. By concentrating stress at the pointed crown, the arch avoids excessive eccentricity that could cause tensile stresses or instability in masonry materials, which perform poorly in tension. The thrust line remains safely within the kern (the middle third of the cross-section) for a wider range of geometries, allowing minimal material thickness without risk of hinging or collapse. For instance, analysis of pointed masonry arches under self-weight shows that limit equilibrium eccentricity correlates with embrace angle and rise, permitting optimized profiles that maximize stability for given heights.^[10]^[9] Mechanically, the horizontal thrust H in a pointed arch (approximated as parabolic for uniform loading) is lower than in a round arch for equivalent span and rise, derived from moment equilibrium. For a three-hinged arch under uniform vertical load w per unit length over span L and rise h, H = \frac{w L^2}{8 h}, or equivalently H = \frac{W L}{8 h} where W = w L is the total load; this decreases as the apex angle sharpens (higher h/L ratio), unlike round arches where the fixed curvature yields higher H (up to 20-50% more in comparable models) due to poorer force alignment. This reduction in thrust—stemming from the geometry's ability to follow a nearer-funicular shape—lowers bending moments and shear, supporting slender designs.^[11]^[8] The varying curvature of the pointed arch also facilitates its use as a prerequisite for complex vaulting systems, as the non-uniform radius allows intersecting arches of different spans to converge at a common keystone without geometric distortion. In ribbed vaults, this adaptability ensures that transverse and diagonal ribs meet precisely, distributing loads axially while avoiding the warping or mismatched joints common in circular arches under varying bay sizes. Such configurations enhance overall structural integrity.^[12]

Historical Origins

Pre-Islamic and Early Examples

The earliest known examples of pointed arches trace back to the Bronze Age in the ancient Sumerian city of Nippur, dating to approximately 2100 BCE, where they appeared in drain covers and minor drainage structures primarily for practical engineering purposes rather than aesthetic or structural innovation. Archaeological excavations conducted by the University of Pennsylvania at Nippur uncovered a pointed arch formed of unbaked brick, measuring 60 cm high and 48 cm wide at the base, situated in a low-stress context within mound X on the southwest side of the site; this feature, associated with the Old Babylonian period, highlights early experimentation with curved forms to manage water flow in utilitarian settings. Such applications underscore the functional origins of the pointed arch in Mesopotamian architecture, where it facilitated simple spanning without the need for advanced load-bearing capabilities. In the broader ancient Near East, pointed arches evolved through corbelled approximations in Mesopotamian and Egyptian constructions, with more defined curved pointed forms emerging in Assyrian drainage systems by the 8th century BCE. These Assyrian examples, such as those in the drains under the palace at Khorsabad, represented a step toward true voussoir construction in low-stress utilitarian contexts to manage water flow without full vaulting systems. Earlier corbelled variants, built by stepping stones inward to approximate a pointed shape, appeared in Egyptian mastaba tombs and Mesopotamian ziggurat approaches as early as the third millennium BCE, serving to bridge small openings in low-tensile materials like mudbrick.^[13] Byzantine architecture provided further precursors to the pointed arch in eastern Christian contexts, as evidenced by its use in innovative structures for functional and symbolic purposes. A clearer surviving pre-Islamic instance appears in the two pointed arches of the Chytroi-Constantia Aqueduct in Cyprus, dating to the 5th-6th century CE, where they supported innovative water management structures alongside flying buttresses, demonstrating early Byzantine adaptation for hydraulic efficiency.^[14] Throughout these periods, pointed arches predominantly served non-structural roles, appearing in decorative elements or low-stress applications like drainage and water management. This limited scope reflects the pointed arch's gradual emergence as a versatile element before its refinement in later traditions.

Development in Islamic Architecture

The pointed arch emerged as a significant architectural element during the Umayyad period, marking its first systematic use in monumental Islamic structures. In the Dome of the Rock in Jerusalem, completed in 691 CE under Caliph Abd al-Malik, the outer octagonal arcade features slightly pointed arches that support the elevated drum and dome, creating a rhythmic elevation and allowing for greater height while distributing structural loads more efficiently than semicircular forms.^[15]^[16] This innovation, influenced by regional Syrian and Byzantine traditions, represented an early refinement of arch geometry by adjusting the centers of the curving segments to form a tapered apex, which reduced lateral thrust and enabled lighter walls.^[17]^[18] In the subsequent Abbasid era, the pointed arch gained further prominence, as seen in the Palace of Ukhaidir in Iraq (late 8th century), where it was employed structurally in vaulted spaces for the first time in a comprehensive manner, facilitating complex interior designs without excessive material use.^[18] By the Fatimid period in Egypt, the form evolved with stilted pointed arches, particularly in minaret designs, as exemplified in the Al-Azhar Mosque founded in 970 CE in Cairo. Here, the original prayer hall's arcades incorporate pointed arches on coupled columns, enhancing verticality and integrating with the mosque's T-plan layout to emphasize spatial hierarchy and light penetration through elevated openings.^[19]^[17] These adaptations not only served structural purposes but also harmonized with Fatimid aesthetic principles, often adorned with vegetal motifs and calligraphy in the spandrels. The Seljuk period in Anatolia introduced decorative variations, such as multifoil pointed arches, which added ornamental complexity while maintaining structural integrity. The Alaeddin Mosque in Konya, completed around 1155 CE, showcases these in its portal and interior arcades, where multifoil designs transition into muqarnas squinches that support domes, bridging square bases to circular drums with geometric precision.^[17] This integration of pointed arches with squinch systems was a key innovation, allowing seamless plan transitions in domed architecture and emphasizing rhythmic patterns that complemented intricate tilework and calligraphy.^[16]^[18] As Islamic architectural traditions spread westward, the pointed arch influenced the Mudéjar style in Al-Andalus during the 12th century, blending with local Visigothic and Romanesque elements. In the Alcázar of Seville, rebuilt and expanded in the Mudéjar idiom around 1160–1200 CE under Almohad rule, pointed arches appear in courtyard arcades and vaults, facilitating open, light-filled spaces that fused Islamic geometric harmony with emerging Christian patronage.^[15]^[17] This regional evolution underscored the arch's versatility, prioritizing both aesthetic unity—through motifs like intersecting foils and arabesques—and functional advancements in load-bearing for expansive palaces and mosques.^[18]

Applications in Medieval European Architecture

Transition to Romanesque and Early Gothic

The pointed arch entered European architecture through cultural exchanges facilitated by the Crusades and interactions with Al-Andalus, where Islamic builders had refined the form centuries earlier.^[18] These transmissions are evident in the sporadic adoption during the late 11th century, particularly in regions like southern France and England, marking an experimental phase in Romanesque design.^[20] In Aquitanian Romanesque architecture, early experiments with pointed arches appeared in vaulting systems amid the region's pilgrimage routes.^[21] This adoption reflected broader influences from Islamic motifs transmitted via trade and conquest in Iberia, allowing Romanesque builders to deviate from traditional rounded arches for more varied spatial effects.^[18] Further north, the pointed arch gained traction in England during the Norman period, notably at Durham Cathedral, begun in 1093, where it was employed in the ribbed vaults of the nave to transition from semicircular forms, enabling taller elevations and distributing loads more efficiently.^[22] This use signified a shift toward verticality in Romanesque designs, influenced by continental exchanges during the Crusades, though it remained experimental and not yet systematized.^[16] The emergence of Early Gothic architecture crystallized these innovations at the Abbey of Saint-Denis near Paris, rebuilt under Abbot Suger starting in 1140, where pointed arches in the choir and ambulatory allowed for expansive windows that flooded the interior with light, symbolizing divine illumination as described in Suger's own writings.^[23] Suger, in his treatise De administratione, articulated this symbolism, arguing that radiant light elevated the soul toward the divine, driving the structural choices that conceptually paved the way for flying buttresses in later Gothic works.^[24] This rebuild thus bridged Romanesque solidity with Gothic aspiration, prioritizing aesthetic and spiritual height over mere mass.^[16]

Role in Gothic Vaulting and Ribs

In Gothic architecture, rib vaults represented a significant evolution from earlier Romanesque forms, incorporating pointed arches as the primary structural elements for diagonals and transverse ribs to create compartmentalized ceiling systems. These vaults typically divided into sexpartite configurations, with six curved panels per bay formed by two diagonal ribs, two transverse ribs, and intermediate ridge ribs, all employing pointed arches to span varying widths while achieving uniform height. A prime example is the choir of Chartres Cathedral, rebuilt after 1194 CE, where such sexpartite vaults allowed for modular construction that facilitated the erection of taller interiors without excessive lateral thrust. Similarly, Laon Cathedral, dating from circa 1150 CE, featured early sexpartite rib vaults with pointed arches that marked a transitional innovation, enabling builders to experiment with height and complexity in nave ceilings.^[25] The construction of these ribbed vaults relied on a methodical process that leveraged the geometric properties of pointed arches. Builders first erected temporary wooden centering—a scaffold-like framework—to support the vault's form, positioning it bay by bay to allow sequential assembly. The ribs were laid next, starting with the transverse and diagonal pointed arches, which were assembled from precisely cut voussoirs (wedge-shaped stones) locked at the keystone; the pointed profile ensured that ribs spanning different distances, such as shorter diagonals versus longer transverses, converged at the same crown height, simplifying the centering's design and reducing material needs. Once the ribs were in place and self-supporting, the infill panels, or webbing, were added using thinner stone slabs or lightweight fillers, often in radiating courses that followed the ribs' curvature. This approach, evident in the choir vaults of Notre-Dame de Paris (completed by 1177 CE), minimized construction time and scaffolding while distributing loads evenly during assembly.^[25]^[21] Over time, the use of pointed arches in rib vaults advanced toward greater intricacy, evolving from sexpartite designs to quadripartite vaults with four panels per bay, which became standard in high Gothic structures for their efficiency. Further developments included tierceron vaults, adding intermediate ribs from capitals to the ridge for enhanced support and decoration, as seen in the presbytery of Ely Cathedral in the 1320s. By the late Gothic period, lierne vaults emerged, incorporating short connecting ribs between main ribs to form intricate, fan-like networks without altering the primary load paths; the Lady Chapel at Ely Cathedral exemplifies this, with its lierne ribs creating a complex geometric web spanning 13 meters. These progressions were enabled by the pointed arch's versatility, allowing ribs of varied lengths and curvatures to intersect harmoniously while maintaining structural integrity.^[26]^[12] The engineering synergy of pointed arches in these vaults lay in their ability to channel vault weight more directly downward, minimizing horizontal thrust compared to semicircular arches. By concentrating forces along the ribs toward vertical piers and abutments, pointed arches reduced lateral pressures on enclosing walls, permitting thinner masonry and the integration of expansive windows; this was crucial in structures like Chartres, where vaults rose to over 30 meters without compromising stability. Complementing flying buttresses, the ribs served as secondary guides for load paths, with the vault's thin shell (often 12-20 cm thick) bearing primary compression, thus optimizing material use and enabling the soaring, luminous interiors characteristic of Gothic cathedrals.^[25]

Use in Portals and Openings

In Gothic architecture, pointed arches were extensively employed in portals, or doorways, to create imposing entrances that emphasized verticality and grandeur. These arches allowed for taller openings compared to the semicircular Romanesque arches, distributing structural loads more efficiently downward onto supports rather than outward, which minimized the need for thick surrounding walls. This innovation enabled the construction of expansive, elaborately decorated portals that served both functional and symbolic purposes, framing sculptural programs depicting biblical scenes and saints. For instance, at Amiens Cathedral (begun 1220), the three west façade portals feature tall pointed arches adorned with quatrefoil motifs and statue-columns, enhancing the dramatic height of the entrance while supporting the weight of the rose window above.^[27] Similarly, Chartres Cathedral's Royal Portal on the west façade (mid-12th century) utilizes pointed arches to integrate intricate sculptural tympana and archivolts, marking an early transition to High Gothic forms.^[28] The structural advantages of pointed arches in portals also facilitated the integration of narrative sculpture without compromising stability. By concentrating thrust vertically, architects could employ slender jambs and colonnettes, allowing for deeper recesses and multi-layered archivolts that housed profuse figural decoration. This is evident in the north transept portals of Chartres (c. 1210), where pointed arches frame recessed doorways with elaborate moldings and statues, creating a sense of depth and movement that draws worshippers inward. At Notre-Dame de Paris (begun 1163), the central portal's pointed arch supports a lintel with the Last Judgment tympanum, demonstrating how the form's geometry permitted heavier sculptural loads while maintaining proportional harmony.^[29] These portals not only provided access but also acted as theological gateways, with the arch's upward taper symbolizing ascension toward the divine.^[30] Beyond doorways, pointed arches revolutionized openings such as windows, enabling vast glazed surfaces that flooded interiors with light—a key aspiration of Gothic design. The arch's ability to adjust height independently of width allowed for elongated lancet windows and complex tracery patterns, reducing wall mass and maximizing illumination. In the clerestory windows of Salisbury Cathedral (begun 1220), pointed arches form tall, narrow lancets grouped under gables, pierced by intricate bar tracery that divides the glazing into geometric motifs like trefoils and mouchettes.^[31] At Beverley Minster (c. 1190–1420), the triforium level employs multifoil pointed arches for secondary openings, creating rhythmic patterns that unify the elevation and enhance the perception of height. This application extended to rose windows, where radiating pointed arches in the tracery, as seen in the south transept of Notre-Dame (c. 1260), formed circular compositions that symbolized divine light piercing the earthly realm. Overall, these uses in openings underscored the pointed arch's role in achieving luminous, ethereal spaces that elevated the spiritual experience.^[29]

Variations in Gothic Forms

Within Gothic architecture, pointed arches evolved into several distinct subtypes, each adapted to regional preferences, structural needs, and stylistic developments from the 12th to 16th centuries. These variations maintained the basic two-centered geometry of the pointed form but altered the radius, rise, and curvature to achieve different visual and functional effects, such as emphasizing verticality or spanning wider openings.^[1] The equilateral pointed arch, a symmetrical two-centered form where the sides equal the radius, became prominent in High Gothic structures around 1220 CE. This balanced design distributed loads efficiently while creating a harmonious, upward thrust, as seen in the arcades and windows of Amiens Cathedral in France.^[1]^[32] In contrast, the lancet arch features a slender, steeply pointed profile with a rise exceeding half the span, producing a narrow, lance-like shape that heightened the sense of verticality in Early English Gothic buildings from the 1220s. Exemplified by the clustered lancet windows and nave arcades at Salisbury Cathedral, this form allowed for taller interiors and grouped openings that flooded spaces with light.^[1]^[33] Later developments introduced lower-rise variations for flatter profiles, distinguishing the equilateral from the drop arch, which depresses the apex to create a wider, more horizontal emphasis in the Perpendicular style of the 15th century. At King's College Chapel in Cambridge, begun in 1446 CE, drop arches appear in the expansive window tracery and fan vaults, facilitating broader spans and intricate decorative panels.^[1]^[34] The four-centered arch, characteristic of the Tudor and Flamboyant phases, employs two smaller arcs for the rise and two larger ones for the base, forming an S-curve that enables even wider spans with a graceful, undulating outline. Constructed from 1514 CE at Hampton Court Palace in England, this subtype marked a transition toward Renaissance influences while retaining Gothic pointedness, often used in grand doorways and cloisters.^[1]^[35] Regionally, French Gothic arches tended to be steeper, as in the equilateral forms of High Gothic cathedrals, to accentuate soaring heights, whereas English examples progressively flattened in the Perpendicular period to prioritize length and expansive interiors.^[1]^[36]^[37]

Revival and Later Developments

Gothic Revival in the 19th Century

The Gothic Revival of the 19th century marked a romantic resurgence of pointed arches as a symbol of moral and nationalistic ideals in architecture, largely propelled by the advocacy of Augustus Welby Northmore Pugin and John Ruskin. Pugin, in his 1836 treatise Contrasts, argued that the pointed arch exemplified true Christian architecture, contrasting it with the perceived corruption of classical styles and positioning Gothic forms as embodiments of spiritual authenticity and social virtue. Ruskin further elevated this ideology in works like The Seven Lamps of Architecture (1849), where he praised the pointed arch for its organic beauty and structural honesty, viewing it as a moral imperative against the mechanized excesses of industrial production.^[38] Their combined influence framed the pointed arch not merely as a stylistic element but as a ethical response to Victorian modernity, inspiring a wave of neoclassical revival projects across Europe and North America. A prominent secular application emerged in the reconstruction of the Palace of Westminster, known as the Houses of Parliament, following the 1834 fire; completed in phases from 1840 onward under architects Charles Barry and A.W.N. Pugin, the design incorporated extensive pointed arches in windows, doorways, and tracery to evoke medieval English heritage.^[39] The building's Perpendicular Gothic detailing, including tall lancet windows with pointed arches, symbolized parliamentary tradition and national identity, becoming a benchmark for Gothic Revival civic architecture.^[40] In ecclesiastical contexts, the pointed arch facilitated the completion of longstanding medieval projects and the erection of new neo-Gothic cathedrals, blending historical continuity with 19th-century engineering. The Cologne Cathedral in Germany, initiated in 1248 but stalled for centuries, was resumed in 1842 under Prussian initiative and fully completed in 1880, with its towering spires and intricate pointed arches in vaults and facades representing a nationalist triumph of Gothic purity.^[41] Similarly, the Washington National Cathedral's design, conceptualized in the 1890s by British architect George Frederick Bodley, drew on English Gothic precedents with prominent pointed arches in its nave and transepts, though construction began in 1907; this project underscored transatlantic adoption of the style for institutional worship.^[42] Secular buildings, particularly in educational and civic spheres, adapted pointed arches to modern materials like iron framing, allowing for expansive interiors while retaining ornamental flair. At the University of Oxford, the New Examination Schools, constructed between 1876 and 1882 by architect Thomas G. Jackson, featured robust pointed arch windows and arcades in a High Victorian Gothic manner, integrating cast-iron supports to accommodate large lecture halls.^[43] Comparable civic structures, such as town halls and museums, employed these arches to convey cultural prestige, often combining them with polychrome brickwork for visual dynamism. The movement faced critiques regarding authenticity and perceived Victorian excess, with Ruskin himself decrying later interpretations as overly ornate and divorced from medieval craftsmanship's sincerity, as outlined in The Stones of Venice (1851-1853). This debate prompted a shift toward more restrained forms by the late 19th century, emphasizing structural clarity over decorative proliferation while preserving the pointed arch as a core element of revivalist identity.^[44]

Modern and Contemporary Uses

In the 20th century, pointed arches found stylized applications in transitional styles like Art Nouveau, where they blended with organic curves to create dynamic forms. A notable example is the Saint-Jean de Montmartre Church in Paris, completed in 1904 and designed by Anatole de Baudot, which incorporates pointed arches in its reinforced concrete structure to evoke Gothic height while integrating flowing Art Nouveau motifs for doorways and windows. This fusion marked an early modern adaptation, using the arch's vertical emphasis to enhance spatial drama in urban religious architecture. During the mid-20th century, pointed arches appeared in educational and civic buildings influenced by Gothic elements, often constructed with steel and concrete for greater spans. The Cathedral of Learning at the University of Pittsburgh, finished in 1937 and designed by Charles Z. Klauder, employs pointed arches in its fenestration and interior vaults to symbolize intellectual aspiration, distributing loads efficiently in a 42-story tower that combines Art Deco massing with Gothic detailing. This structure demonstrates the arch's role in modern high-rise design, where its form accentuates verticality without compromising structural integrity.^[45] In contemporary architecture, pointed arches contribute to sustainable practices by enabling expansive openings that maximize natural daylight and ventilation, thereby minimizing energy use for lighting and climate control. Modern materials like steel allow these arches to support lightweight frames over wide spans, as seen in eco-oriented public buildings where the form optimizes solar gain and airflow; for instance, pointed arch-inspired clerestories in green campuses reduce electricity consumption through passive solar strategies.^[46] Restoration projects highlight the pointed arch's enduring engineering value in the 21st century. Following the April 2019 fire that damaged Notre-Dame Cathedral in Paris, the five-year reconstruction effort, overseen by the French government and completed in December 2024, meticulously rebuilt the nave's pointed arches using original 13th-century techniques augmented with digital scanning and carbon-fiber reinforcements for seismic resilience. This work preserved the arches' load-bearing role in the ribbed vaults while adapting them to contemporary safety standards.^[47] Symbolically, pointed arches evoke aspiration and resilience in modern memorials, their upward thrust representing hope amid tragedy. Though not always literal, the form influences designs like those in commemorative spaces where vertical elements draw the eye heavenward, reinforcing themes of elevation and remembrance in 21st-century public art.^[46]

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Perpendicular Gothic, from late 14th to early 16th century, features strong vertical lines, large windows, fan vaulting, and hammerbeam roofs.Missing: drop | Show results with:drop
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Gothic and Renaissance, by T. Roger Smith. - Project Gutenberg
The Depressed (or Four-centred) Tudor Arch is characteristic of the Perpendicular period, and was then constantly employed. The Ogival Arch is occasionally ...
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Gothic Architecture in England and Germanic Lands
English Gothic features pointed arches, vaulted roofs, and emphasizes length. German Gothic has large towers, lacy spires, and hall churches. Brick Gothic is ...Gothic Architecture In... · English Gothic Architecture · Decorated Gothic Period
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Distinctions and Comparisons between French and English Gothic ...
The Main difference between the cathedrals of France and England at this time was the difference in spatial emphasis, enhanced by the use of architectural ...
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The Seven Lamps of Architecture - Project Gutenberg
Project Gutenberg's The Seven Lamps of Architecture, by John Ruskin This ... The pointed arch is beautiful; it is the termination of every leaf that ...<|control11|><|separator|>
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The architects: Charles Barry and Augustus Pugin - UK Parliament
Indeed, it was Pugin who designed most of the Palace's sumptuous Gothic interiors, such as various carvings, gilt work, panelling and furniture in the rooms, ...
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Charles Barry and A.W.N. Pugin, Palace of Westminster (Houses of ...
A portrait of John Ruskin and masculine ideals of dress in the 19th century ... The Gothic really did stand for a kind of Victorian fantasy, a 19th century ...
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Cologne Cathedral - Gothic masterpiece and cultural heritage
Cologne Cathedral is 157 metres tall, a World Heritage Site and a place of superlatives, eventful history and 632 years of construction.Missing: arches | Show results with:arches
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History - Washington National Cathedral
Pierre L'Enfant's original design for the new capital city included a “great church for national purposes,” an idea that sat idle until a congressional charter ...Missing: 19th | Show results with:19th
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The Most Beautiful Victorian Buildings in Oxford
The Examination Schools (1876). Built to host Oxford University's exams, this imposing structure was designed by architect Thomas Jackson in a Victorian Gothic ...
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[PDF] John Ruskin and the Savage Gothic - Journal of Art Historiography
Jun 12, 2015 · Ruskin complicates notions of authenticity as well. As we have seen, Ruskin rejected the imitation of Gothic motifs and facture. It was ...
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Top 20 Examples of Art Deco Architecture
Sep 3, 2024 · The Cathedral of Learning also has a strong Gothic Revival Influence thanks to its use of pointed arches. Gothic was the dominant ...
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Pointed Arch: Engineering, Design, Types, and Modern Applications
The use of these arches also enables larger windows, which bring in natural light and reduce electricity consumption. Think of a solar-powered campus or eco- ...
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Notre Dame Has an Astonishing Reopening in Paris After the Fire.
Dec 5, 2024 · Its pointed arches, flying buttresses and piers sprouting ribs that branched like spider webs helped usher in the Gothic age. The bishop ...