Cologne Cathedral and Amiens Cathedral - Essay Example

? Cologne Cathedral and Amiens Cathedral Cologne Cathedral and Amiens Cathedral Introduction Architecture being a very old form of engineering has taken a diverse way since its inception with ancient Egyptians where it is believed to trace its origin. This is also evident when we compare modern architectures with the original Gothic architectures which differ in so many ways. In this field of architecture, there are conventional rules and designs to be strictly adhered to. However, this may vary from one structure to another. A good example of this is the Amiens Cathedral and the Cologne Cathedral which are known all over the world. Even though, the two were designed by one architect by the name Gerhard Von Rile, they vary in so many ways like structure foundations, building historical background and decorative designs. These two structures were included in the World heritage site simply because they have about 800 years of history, and hence their significant effect in the world1. At the beginning of Medieval, Rainald of Dassel decided to put up a suitable church that would attract so many church goers. In so doing this, he had to seek for assistance from a renowned architecture that had to offer his expertise in the designing and construction of the famous church. Background Information about the Buildings The Cologne Cathedral traces its origin at the beginning of the medieval period. This is after Rainald of Dassel had acquired some skills from the three kings and thus decided to construct the largest church. With the artifacts contained by the Cologne Cathedral during the Middle Ages, So many people were attracted to thus making it one of the most famous religion centers in the world at the moment. Some of the common artifacts include the Three Magi2. During the designing of the Cologne Cathedral, the architecture solely relied on the original design of the Amiens Cathedral both in terms of ground plan, width and even height measurements. A Latin cross was the main shape of the plan as commonly associated with the Gothic Cathedral. There were to be two aisles on both sides which were to offer support to the highest Gothic vaults. With these exceptional collections of relics, the Cathedral of cologne was outstanding, and perhaps this was the thought of Rainald of Dassel. He decided to implore Gothic architecture, which had become very common, in most parts of Europe especially France and England. Despite the design not being popular in Germany, he chose the French architect to construct the Gothic Cathedral3. Fortunately this turned out positive since the cathedral become famous internationally. The Gothic style went through several evolution periods basing on the country. For example in France, the periods included Early, Lancet, Rayonnant and Flamboyant or late Gothic while, in England, there were three stages namely Early English, Decorated and perpendicular. In both cases, the last periods were the most sophisticated as its amazing development led to introduction of different styles. During construction using this style, the climate played a crucial role in determining the physical features of the medieval, Gothic cathedrals. The Amiens cathedral in France had between 3 to 5 portals leading to the central nave. This style was similar to the one used to build the Cologne cathedral in Germany except that the later was made mainly of bricks, as opposed to the stones used in the Amiens4. However, this might not have been the main reason why the design was chosen because during the Roman period, the Romanesque style was eminent. That was the main reason why the some Romanesque features still existed in the Cologne church before the Cologne Cathedral. It was only after the changes in the economy of the society that the Gothic style became prominent. This led to the powerful influence of the French which was evident in the Cologne Cathedral particularly the Amiens Cathedral. The construction of this church was not a walk in the park, as it was forced to stand still for some time because of lack of money. After going through the 600years of construction and completion in 1880’s the Cathedral of Cologne became a significant in Germany5. This is because it is not only a church but also a culture and an art centre. Being of historical importance was the main reason why the people of German put up a spirited fight in constructing the structure and protecting it for a long time even in the period of the Second World War. The Cologne Cathedral stood the test of time when it remained standing after the seventy hits by the aerial bombs during the war. Instead, the great twin spires were used as navigational landmarks by the aircrafts which were raiding deeper into Germany. In 1956, the repairing of the building was complete. There are constant repairs taking place on the building to counter wearing out of the bricks which are not very strong as the stones used in constructing the Amiens Cathedral. The cathedral was furnished with new stained glass in the south transept Window on 25th of August 2007. With 113 square meters of glass, the German artist created the window. This window was made of 11,500 identically pieces of glass that were colored. Indeed, during the 12th century the Amiens Cathedral was the largest as it could accommodate a total population of ten thousand people. Due to its magnificence so many people were attracted since the beginning of its construction. These cathedrals turned even to be social venues where people would converge and to discuss business. Thus, the Cathedrals were familiar places in France as compared to Germany6. When the American and English armies attacked Germany, the citizens requested them not to bomb the Cologne Cathedral. These showed that they really wanted to protect the German precious arts with the designs and the prestigious religion. Another reason why Rainald of Dassel chose the French architect was to prove the people who thought German architects did not have modern and advanced technology when it came to designing7. It is then that he decided to pick Gerhard a French architect to construct the Cathedral of Cologne using the same Gothic way as the one used on Amiens Cathedral. The French and England architects were far ahead in terms of design in the thirteenth century as compared to the German ones. This is because they had already known how to bring out clearly both the rational and irrational designs. They incorporated their Gothic design in their structures and developed different ways of incorporating the art sculptures. The opposite was true for the German architects who had no interest in the French method of designing. They, therefore, had difficulties in agreeing with the Cathedral Gothic during the thirteenth century8. Since the French Gothic architecture started way before the German Gothic, thus having developed cathedrals with exclusive sculptures like polychrome in the Amiens. However, this does not imply that the ones made by the Germans are less developed. This is supported when David argues that those churches build later were more interesting in most Germany cities, as opposed to the Gothic styles that was common in France9. However, even with several challenges experienced in the medieval period, the German architects continued discovering and modifying the Gothic style. This resulted to the choir with vaults soaring more than one hundred and forty one foot. This establishment relied solely on the building technology, even though the German architect tried to minimize the overdependence on the French styles and instead created some new and modified structures. According to the rediscovered original designs, the Cologne Cathedral still remained a memorable structure of nationalism of the day after its completion in the nineteenth century. Successfully, the Germans architects had to create their Gothic cathedrals with special features like bold scale, tall tower and short choirs. This virtually created enough and spacious room for the arcade which was very tall in some churches and hence not interfering with the vaults10. The result of the discovery was that the German adopted the high –advanced system of the flying buttresses. During the construction of the Cologne Cathedral, the design was related to that of Amiens Cathedral both in style, ground plan and the height to width proportion of the central nave. As common with the Gothic Cathedrals the plan took the shape of the cross. There were two isles on both sides to offer support to one of the highest Gothic Vaults. The outward thrust of the vault was taken up flying buttresses on the external. On the Eastern end, there was a single ambulatory, with the second aisle resulting into a Chevet of seven radiating chapels. The medieval choir on the internal was different and less mechanical than the building in the 19th century. This presented a French style of arrangement of thin triforium gallery, long arcade with complicated tracery merging with that of the windows above. On the outside, the wall was united by the tall shafts which swept unbroken right from the floor up to the capitals at the spring of the vault. Also, the clerestory windows were tall and maintained some features in the lower sections11. Externally view from a distance shows the building being dominated by large spires that are basically Germanic in shape. Whereas, on the other hand, the nave is enhanced by stained glass windows on the south side which comprised the set called the “Bayern fester’ which were a gift from Ludwig 1 of Bavaria and a set of highly representation of the German paints style of that time12. Analysis of the Building According to the background information provided the Cologne Cathedral took lot of time before it was completed. This was attributed by the new and modern technology of architecture being introduced for the first time in Germany. Another factor that contributed to this was the capital required to put up the structure during the tough economic times. Unlike the Cologne Cathedral, the Amiens Cathedral had some advantages, especially when it came to building materials. In France, limestone was readily available in various grades, where the finest white limestone of Caen was favored for sculptural decorations. During the medieval period, the style of construction commonly adopted in Germany was the Romanesque Style, but Rainald of Dassel decides to introduce the Gothic architecture commonly used by the French at the time. This comes with controversy, but at the end of the construction, the people become convinced and start appreciating the technique as it remains unique and outstanding13. This tells us that for one to put up an outstanding structure in Engineering, enough time and capital is needed. If it were not for the romantic enthusiasm of the Middle Ages, during the nineteenth century the Cologne Cathedral would not have been completed. Fortunately, the discovery and identification of the original plan for the structure encouraged the completion of the Cathedral. This was achieved by the efforts of the civil people where they contributed two thirds of the total cost which amounted to slightly above US$ 1 billion. The state of Prussia also contributed by filling the remaining third. This move was to improve their relationship with the large number of slaves it had acquired in the year 181514. The construction work resumed in 1842 while maintaining the original design plan and drawing. However, more modern construction techniques were adopted including the use of iron roof girders and completion of naves while adding towers. In 1870S bells were installed in readiness for the official opening of the church15. A further development of difference between the Amiens and the Cologne cathedral was the flying buttress which for the Amiens one domed outwardly from the spring right from the vault across the roof of the aisle to a large buttress pier which projects well beyond the line of the wall on the external16. The piers were strengthened by a statue or pinnacle hence increasing the downward weight thus cancel out the outward force of the vault and buttress arch and as well as opposing the wind loading. When analyzing the construction of the structure, one realizes that the Gothic vault differed from the one on Romanesque buildings. This was because the initial one could be used to roof irregular and rectangular shapes such as those of trapezoids. Another advantage structurally was that of the pointed arch channels that added the weight to the bearing piers or columns at a steep angle17. With this, the architects were able to raise vaults very high than was possible in the Roman type of architecture. One, the Cologne Cathedral treasures, included the High Altar which was installed in the year 1322 after being constructed by a black marble. The solid slab of 15 feet long formed the top while the front and sides were overlaid with white marble niches. However, the most celebrated feature in the Cologne Cathedral was the shrine of the three kings, namely Sarcophagus during the 13th century, the reliquary in western world18. This was believed to be holding the bones and old clothes of three wise men that were discovered during the opening of the shrine in the year 1864. There was a large crucifix carved in oak full of paint traces and gilding. This particular one was commissioned around 960 years back from that time. Also, embedded in the interior wall was a pair of tablets on which the provisions worked out by Archbishop Englebert II (1262-1267) where the Jews were permitted to reside in Cologne. Finally, most Gothic cathedral symbolized the world in microcosm where each architectural concept, like the large dimensions of the structure and loftiness meant to relay the theological message of the great glory of God. There were two ways in which the building was microcosm, first the mathematical and geometrical portraying nature’s construction of an orderly image of the universe19. Interpretation and Critical Analysis The diagram below is the actual plan and dimensions of the Cologne Cathedral Church during it construction. Ground plan Dimension of the Building Detail of a tower, from an albumen print taken ca. 1877–1880 External length 144.58 m (474.3 ft) External width 86.25 m (283.0 ft) Width of west facade 61.54 m (201.9 ft) Width of transept facade 39.95 m (131.1 ft) Width of nave (with aisles, interior) 45.19 m (148.3 ft) Height of southern tower 157.31 m (516.1 ft) Height of the northern tower 157.38 m (516.3 ft) Height of ridge turret 109.00 m (357.61 ft) Height of transept facades 69.95 m (229.5 ft) Height of roof ridge 61.10 m (200.5 ft) Inner height of the nave 43.35 m (142.2 ft) Building area 7,914 m2 (85,185.59 sq ft) Window surface area 10,000 m2 (107,639.10 sq ft) Roof surface area 12,000 m2 (129,166.93 sq ft) Gross volume without buttresses 407,000 m3 (14,400,000 cu ft) Looking critically at the dimensions of the Structure one gets to wonder how such a marvelous structure20 was a build. In this case, the power and influence of the church could have a determining factor. The dedication of the medieval people in the 12th century contributed a lot where even women belonging to all social classes offered support. They did this by carrying construction materials and food to the men who were building the cathedral21. On the other hand, Men would carry construction materials using carts to ensure proper completion of the sacred structure. The construction of this structure must have been hectic simply because of the difficulty in construction materials in Northern Germany where the Cathedral was established. The building stone was unavailable hence the common use of building brick. However, timber was plenty in Germany thus proper finishing of the architecture22. There is a slight difference in both the dimensions and design structure of the two even though the style was Gothic and alike. The internal columns of the Amiens arcade, the flying buttresses, and the ribs of the vault provided the skeleton of the building. Also, the walls and the infill of the vaults could be of light, thus constructing and opening up into large windows23. Through the Gothic period, the versatility of the pointed arch developed from simple openings to immensely rich and decorative sculptural designs. Stained glass of the windows added a dimension of color to the light within the building as well as providing a means for narrative and figurative art. The Amiens cathedral’s west had its front which was generally designed to captivate the worshipper visiting for the first time24. Next to the west front there was the main portal with additional doors and a statue bearing the Judgment day. Others included figures in niches set into moldings around the portals and sculptural screens. Similarly, both the Amiens and Cologne cathedral had two towers, which expressed change in decoration and form. However, most of the German cathedrals had one tower placed in the middle of entrance. Throughout the Gothic period, there was a way in which the pointed arch was drafted and utilized systematically. However, the progress was not simultaneous in every country. The distinctive characteristic of the Amien cathedral and the Cologne cathedral were their height and their vertical impression. The Amien cathedral was compact with slight or no projection of the subsidiary chapels. The west fronts were highly consistent together with three portals surmounted by a rose window and two large towers. On the other side, the East end is polygonal with ambulatory and sometimes a corvette of radiating chapels25. Modular and massive nature was the chief characteristic of the Romanesque architecture. This was expressed in the Gothic architecture of the Roman Empire in the large size of the towers and spires. The west front is similar to the French one but very tall. Even at Cologne the modeling was similar to the French one. Bibliography Francis, Ching. Architecture: Form, Space, and Order. Westminster: Van Nostrand Reinhold Press, 1979. George, Kidder Smith. Looking at Architecture. New York: Harry N. Abrams, Publishers, 990, p89. James Stevens Curl. Classical Architecture: An Introduction to its Vocabulary and Essentials, With a Select Glossary of terms. New York: Van Nostrand Reinhold Publisher, 1992. Kevin, Matthews. The Great Buildings Collection. London: Gurland Publisher, 2001. Macaulay, Davi. Cathedral: The Story of its Construction. London: Library of Congress Cataloging press, 1973. Marvin, Trachtenberg and Isabelle, Hyman. Architecture, from Prehistory to Post-Modernism. Englewood Cliffs: Prentice-Hall press, 1986.p346-7. Pierre, Charpentrat. Living Architecture: Baroque. London: Georges Berthoud press, 1967. Roger, Clark and Michael, Pause. Precedents in Architecture. New York: Van Nostrand Reinhold Publisher, 1985, p19. Swaan, Wim. The Gothic Cathedral. Ferndale ed. 24-28. London: Paul Elek Press, 1981. Trachtenberg, Marvin and Hyman, Isabelle. Architecture from Prehistory to Post-Modernism/ the Western Tradition. Library of Congress Cataloging in Publisher, 1986, 720-9. Watkin, David. A History of Western Architecture. New York: Thames and Hudson press, 1986. Read More