Christian Church Art Architecture - Essay Example

In fact, this is the building that I will attempt to effectively 'dissect' in order to ascertain to what extent it has been constructed from an amalgam of various styles as well as attempting to identify the particular styles in question. First, let us look at the details behind the design and construction of this building. The actual construction of this building began in 1851 and reached its completion some six years later. However, due to extensive damage, the building was reconstructed in the 1920s although the reconstruction remained true to the original design.

The building was designed and built under the direction of Fr. John Cambiaso who was a Jesuit originating from Lyon in France. We learn that Fr. Cambiaso actually learnt the practice of architectural design during his stay in Spain and this gives us some clues behind his particular use of certain elements within the design. Because as we see from our first view of the church from the outside (fig. 1) it distinctly reminds us of those buildings that were produced under the Islamic and Moorish influences that were so predominant in the seventh and eighth centuries, especially in countries such as Persia, Egypt and Spain.(1) 2 Fig. 1 As we can see, the Moorish elements of this building are typical of how the designers let their imaginations play a little with both patterns and forms to produce designs that were almost dreamlike.

However, another building that comes to mind here (especially with regards to the second level arches) is the Palace of the Doges of Venice that was built in the 14th century. It is from this that we learn that our particular church was in reality designed in a Venetian Gothic Style. It is then that we begin to notice the elements of this building that are so essential to the Gothic. In the words of the art historian Heinrich Wolfflin, we notice how in the gothic "…the vertical movement streams upwards without check and dissolves playfully at the top" (Wolfflin 60).

We know that the Gothic architects were particularly fond of intricate ornament and tracery and here we see examples of how, again in the words of Wolfflin, "[The Gothic] developed in the direction of ever slimmer and more pointed shapes, to a point of extreme exaggeration" (75). In fact, the Venetian Gothic Style was effectively revived during the 19th century. This revival was mainly down to the work of the British architectural critic, John Ruskin especially his book entitled The Stones of Venice (2).

It was Ruskin who spoke of the lightness and soaring spaces of this style and, once inside the church, this is the first thing that strikes us. In fact, the massive height of the nave although typical of most churches in New Orleans is particularly stunning (fig 2) 3 Fig 2 The nave is lined with intricate arcading and 'triforium' windows so typically expansive enough for Gothic taste to permit huge amounts of natural light to swarm the interior. The arcading is layered on intricately designed columns that incorporate the geometric designs so familiar within the Moorish style.

There is also what is known as a Solomonic column (fig 3) that features a kind of corkscrew design. This style of column actually dates back to ancient Jerusalem and has become popularly used since because of its symbolic reference to the gates of paradise. Further adornments include chandeliers constructed of fine bronze, which again appear to be of Moorish style (fig 3). However, further