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3001: L'Odyssée de l'extase 1976, Dir. Serge Korber as John Thomas (scene from Le Rallye des joyeuses) Bacchanales sexuelles alternative title for Tout le monde il en a deux DVD available (as Annie Brilland, plays Brigitte) Lèvres de sang 1974, Dir. Jean Rollin Notes available (as Annie Briand, plays Jennifer) Lips of Blood alternative title for Lèvres de sang DVD available Notes available (as Annie Briand, plays Jennifer) L'Odyssée de l'extase alternative title for 3001: L'Odyssée de l'extase (scene from Le Rallye des joyeuses) Odyssee Eksatse alternative title for 3001: L'Odyssée de l'extase (scene from Le Rallye des joyeuses) Le Rallye des joyeuses 1974, Dir. Serge Korber as Alain Nauroy (as Annie Brilland) Tout le monde il en a deux 1974, Dir. Jean Rollin as Michel Gentil DVD available (as Annie Brilland, plays Brigitte) Trois mille un l'odyssée de l'extase alternative title for 3001: L'Odyssée de l'extase (scene from Le Rallye des joyeuses)
Wilde Lippen alternative title for 3001: L'Odyssée de l'extase (scene from Le Rallye des joyeuses) eastern end of Gothic churches shows significant regional variation in their ground plans and architecture. In France the eastern end is generally polygonal and surrounded by a continuation of the choir aisle called an ambulatory. Surrounding the ambulatory may be a ring of chapels called a "chevet".[citation needed] In many cases the chevet comprises projecting apses, as at Saint-Denis and Amiens Cathedral where there are seven.[citation needed] This is also the case at Cologne Cathedral in Germany and Prague Cathedral in the Czech Republic, while Chartres Cathedral has three and the Basilica of Saint Anthony of Padua, had nine radiating square chapels.



In England the eastern arm is generally long and may have two distinct sections – choir and presbytery. The building usually terminates in a square and a cliff-like exterior face as at York Minster and Lincoln Cathedral.[citation needed] Often there is a projecting Lady Chapel, dedicated to the Virgin Mary, as at Salisbury, Wells, and Ripon Cathedrals.[32][page needed][40][page needed][81][page needed] In Italy, the eastern projection beyond the transept is usually a shallow chapel, as at Santa Maria Novella. At Florence Cathedral there is a polygonal apse, identical in size and shape to the transepts, radiating from the dome. Milan Cathedral has a polygonal east end. The Gothic cathedrals at Siena and Orvieto are both constrained by their mountainous sites to have square ends.[citation needed] East ends Bourges Cathedral – double ambulatory and small apses Notre-Dame de Paris – chevet Cologne Cathedral – chevet Milan Cathedral – projecting pentagonal range of chapels at the east end. Palma Cathedral – projecting apse Ely Cathedral – square east end: Early English chancel (left) and Decorated Lady Chapel (right) St Albans Abbey – Lady Chapel projects from the east end as is often found in England. Albi Cathedral – apse Church of St Nicholas, Wismar – chevet Portals and the tympanum Early Gothic churches traditionally have their main entrance at the western end of the church, opposite the choir.[citation needed] Based on the model of the Saint-Denis and Notre-Dame de Paris, there are usually three doorways with pointed arches.[citation needed] In the Romanesque style church portals were enriched by sculpture, and a carved figure often occupied the central jamb of the door.[citation needed] The main pictorial representation occupied the tympanum, the panel between the arch and the lintel of the door.[citation needed] The subject was usually the Last Judgement.[citation needed] This arrangement continued into the Gothic era.[citation needed] One of the earliest portals of the Gothic period was that at Chartres Cathedral, where the three portals of the west front show the three epiphanies in the Life of Christ.[83] At Amiens, the tympanum over the central portal depicted the Last Judgement, the right portal showed the Coronation of the Virgin, and the left portal showed the lives of saints who were important in the diocese. This set a pattern of complex iconography which was followed at other churches.[84] The iconography of the sculptural decoration on the façade was not left to the artists. An edict of the Second Council of Nicaea in 787 had set the rules: "The composition of religious images is not to be left to the inspiration of artists; it is derived from the principles put in place by the Catholic Church and religious tradition. Only the art belongs to the artist; the composition belongs to the Fathers."[85] In France, the transept fronts were often elaborately treated like the west fronts, having rose windows and significant portals, sometimes, as at Chartres Cathedral, with large porches.[citation needed] The portals and interiors were much more colourful than they are today.[citation needed] Each sculpture on the tympanum and in the interior was painted by the peintre imagier, or image painter, following a system of colours codified in the 12th century; yellow, called gold, symbolised intelligence, grandeur and virtue; white, called argent, symbolised purity, wisdom, and correctness; black, or sable, meant sadness, but also will; green, or sinople, represented hope, liberty and joy; red or gueules (see gules) meant charity or victory; blue or azure symbolised the sky, faithfulness and perseverance; and violet, or pourpre, was the colour of royalty and sovereignty.[86] Sculpted portals Chartres Cathedral, west front, triple portal Chartres Cathedral, central portal Amiens Cathedral, central portal Amiens Cathedral, west front, "Christ in majesty" Strasbourg Cathedral, the "Wise and Foolish Virgins" Architectural character Height A characteristic of Gothic church architecture is its height, both absolute and in proportion to its width, the verticality suggesting an aspiration to Heaven.[citation needed] A section of the main body of a Gothic church usually shows the nave as considerably taller than it is wide.[citation needed] In England the proportion is sometimes greater than 2:1, while the greatest proportional difference achieved is at Cologne Cathedral with a ratio of 3.6:1.[citation needed] The highest internal vault is at Beauvais Cathedral at 48 metres (157 ft).[32] Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral or abbey church may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world,[87] slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the mediaeval period, at 160 metres (520 ft). External Height St Mary's Church, Lübeck – tallest wood and copper spires in the world. (Rebuilt after WWII.) Lincoln Cathedral – large central tower once carried the tallest spire in the world. Strasbourg Cathedral – openwork spire, tallest stone spire of the Gothic era. Salisbury Cathedral – tallest spire of the 13th century and tallest masonry spire ever built. Freiburg Minster – tallest remaining medieval spire in Germany. Florence Cathedral – dome designed c.1370, engineered by Brunelleschi 15th century. Internal Height Westminster Abbey nave, 31 m (102 ft) Amiens Cathedral choir, 42.3 m (139 ft) Cologne Cathedral choir, 43.35 m (142.2 ft) Palma Cathedral, Mallorca, nave, 44 m (144 ft) Florence Cathedral nave, 45 m (148 ft) Beauvais Cathedral choir, 47.5 m (156 ft) Vertical emphasis The pointed arch lends itself to a suggestion of height. This appearance is characteristically further enhanced by both the architectural features and the decoration of the building.[81][page needed] On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated.[citation needed] The roof-line, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.[citation needed] On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular style of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.[81][page needed] Rhiems Cathedral, west front Beauvais Cathedral, east end York Minster, north transept, the Five Sisters window Bourges Cathedral, nave, clustered column Cologne Cathedral, galleries Cologne Cathedral, choir, flying buttresses and pinnacles Light Expansive interior light has been a feature of Gothic churches since the first structure was opened.[citation needed] The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book De Coelesti Hierarchia was popular among monks in France.[citation needed] Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine.[citation needed] To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodelling the building to make the interior as bright as possible.[citation needed] Ever since the remodelled Saint-Denis opened in 1144, Gothic architecture has featured expansive windows, such as at Sainte-Chapelle, York Minster, Gloucester Cathedral. The increase in size between windows of the Romanesque and Gothic styles is related to the use of the ribbed vault, and in particular, the pointed ribbed vault which channelled the weight to a supporting shaft with less outward thrust than a semi-circular vault. Walls did not need to be so weighty.[40][page needed][81][page needed] A further development was the flying buttress which arched externally from the springing of the vault across the roof of the aisle to a large buttress pier projecting well beyond the line of the external wall.[citation needed] These piers were often surmounted by a pinnacle or statue, further adding to the downward weight, and counteracting the outward thrust of the vault and buttress arch as well as stress from wind loading.[citation needed] The internal columns of the arcade with their attached shafts, the ribs of the vault and the flying buttresses, with their associated vertical buttresses jutting at right-angles to the building, created a stone skeleton. Between these parts, the walls and the infill of the vaults could be of lighter construction. Between the narrow buttresses, the walls could be opened up into large windows.[32][page needed] Through the Gothic period, thanks to the versatility of the pointed arch, the structure of Gothic windows developed from simple openings to immensely rich and decorative sculptural designs. The windows were very often filled with stained glass which added a dimension of colour to the light within the building, as well as providing a medium for figurative and narrative art.[81][page needed] Light Large clerestory windows between flying buttresses at Strasbourg Tall windows lighting the vault at Lyon Cathedral, made possible by flying buttresses Windows in a polygonal arrangement, Lady Chapel, Wells Cathedral Tall windows in the aisle at Rouen, with additional windows in the triforium "Heart of Yorkshire" window at York Minster, the scale of most west windows in England. The array of glass between thin stone mullions, Sainte-Chapelle, Paris Evolving styles Between the dedication of the choir at Saint-Denis, Paris, in 1144 and the completion of Henry VII's Chapel at Westminster Abbey in 1519, there were nearly 400 years of stylistic development in Gothic architecture. Nowhere was this more manifest that in the building of cathedrals and the great churches of abbeys, colleges and prosperous towns.[citation needed] While the plan and elevation of the various types of Gothic ecclesiastical architecture remained consistently linked to purpose and to regional preferences, all the other elements developed, generally towards greater complexity, over the decades.[citation needed] The piers, the arcades, the galleries, the vaults and the portals, all evolved. The evolution was largely linked to and dependent upon the structural and ornamental flexibility of the pointed arch.[citation needed] This development is traditionally divided into periods or styles according to the system of the 19th century French archaeologist Arcisse de Caumont.[88] The periods are generally called Early Gothic (1137–1180), High Gothic (1180–1230), Rayonnant Gothic (1230–1350 and Flamboyant Gothic (1350–1530). These terms apply to the Gothic architecture of France and to those countries where the influence of French Gothic spread. These styles did not, however, progress at the same rate, or in the same way in every country. In England, the reconstruction of Westminster Abbey and the east end of Canterbury Cathedral were both influenced by French Gothic, with the architect at Canterbury being William of Sens.[citation needed] Wells Cathedral, however, takes a completely different direction to French Gothic, introducing an unprecedented use of fluted mouldings, and other decorative innovations.[citation needed] Salisbury Cathedral and the nave of Lincoln are also very different to the French prototypes.[citation needed] Hence, the styles of English Gothic are referred to as Early English (or Lancet) Gothic (c. 1180–1275), Geometric Decorated and Flamboyant Decorated Gothic, (c. 1275–1380); and Perpendicular Gothic, (c. 1380–1520), after the system proposed by Thomas Rickman.[89][page needed] One of the indicators of style is the nature of the windows and doors, and their decorative treatment.[citation needed] This is strongly associated with and affected by the type of arches used within the particular building. The Gothic styles, Lancet, Geometric, Rayonnant, Flamboyant and Perpendicular, affected all the various forms of architectonic decoration within the church – arcading, niches, shrines, wooden panelling, furniture of all sorts, reliquaries, vessels, and vestments.[citation needed] Gothic styles Early Gothic at Soissons Cathedral, France Geometric Gothic at Lincoln Cathedral, England Rayonnant Gothic at Auxerre Cathedral, France Flamboyant Gothic at Salamanca Cathedral, Spain Perpendicular Gothic at Gloucester, England Arches, windows and tracery Early or Lancet Gothic The simplest shape of a Gothic window is a long opening with a pointed arch known in England as the lancet. Lancet windows may be used singly, as in the nave of Lincoln Cathedral, or grouped, as in the nave of Salisbury Cathedral where they are in two in the aisles and threes in the clerestory. Because large lancet windows, such as those lighting the aisles of a church may be wide in comparison to a single light in a traceried window, they often have armatures of wood or iron to support the glass. The arch of a lancet opening is often equilateral, but sometimes is much more acute, and when employed in the arcade of a choir apse, such as at Westminster Abbey, adds to the emphasis of height.[citation needed] The simple shape of the lancet arch may appear in Early Gothic buildings on openings of all types, doorways, niches, arcades, including galleries; and belfry openings.[citation needed] The use of lancet windows is found in the Early Gothic architecture of France, at Saint-Denis, and Sens and Senlis cathedrals. At Chartres and Laon cathedrals lancet windows are grouped beneath the rose windows. Tall narrow lancets are also found in radiating groups in the chancel apses of some churches, such as Chartres Cathedral.[citation needed] It is common in France for lancet windows to be used in smaller, narrower spaces, such as the chapels of a chevet, while traceries windows are used in the clerestory.[citation needed] The style Lancet Gothic is known in England as Early English Gothic, with Salisbury Cathedral being the prime example. York Minster has a group of lancet windows each fifty feet high and still containing ancient glass. They are known as the Five Sisters.[32][page needed][37][page needed] Wells Cathedral is notable for the continuous rows of lancet openings that make up the triforiun galleries. Lancet windows are used extensively in the Gothic churches of Italy, including Florence Cathedral and in the Brick Gothic churches of Germany and Poland.[citation needed] Geometric Gothic (England) The Equilateral Arch lends itself to filling with tracery of simple equilateral, circular and semi-circular forms. In France, windows of clerestorys, and other larger windows were commonly divided into two lights, with some simple Geometric tracery above, a circle or a cinquefoil or sexfoil. This style of window remained popular without great change until after 1300.[citation needed] In England there was a much greater variation in the design of tracery that evolved to fill these spaces. The style is known as Geometric Decorated Gothic and can be seen to splendid effect at many English cathedrals and major churches, where both the eastern and the western terminations of the building may be occupied by a single large window such as the east window at Lincoln and the west window at Worcester Cathedral. Windows of complex design and of three or more lights or vertical sections, are often designed by overlapping two or more equilateral arches springing from the vertical mullions


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