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daniele negre : This Is An Un Official Fan Site Tribute
Bonita Super
Porn Queen Actress Superstar

Les 69 Positions alternative title for Les Soixante-neuf positions Notes available (as Bonita Super, plays Eva, a dancer, non-sex) L'Amante ingorda alternative title for Les Soixante-neuf positions Notes available (as Bonita Super, plays Eva, a dancer, non-sex) Les Bachelières en chaleur 1982, Dir. Jean Luret as John Blackley Notes available (archive footage from Hard Love, non-sex) Bachelières en folie alternative title for Les Bachelières en chaleur Notes available (archive footage from Hard Love, non-sex) Bouches expertes alternative title for Les Bachelières en chaleur Notes available (archive footage from Hard Love, non-sex) Bourgeoise et salope alternative title for Hard Love Notes available (plays Joséphine, a secretary) Désir intense alternative title for Hard Love Notes available (plays Joséphine, a secretary) Désirs intenses alternative title for Hard Love Notes available (plays Joséphine, a secretary) Les Filles du soleil ou les 69 positions alternative title for Les Soixante-neuf positions Notes available (as Bonita Super, plays Eva, a dancer, non-sex) French Kiss 1977/86, Dir. Georges Fleury and Pierre B. Reinhard Notes available Suppliers listed (from Introductions)
Gemelline in calore alternative title for Introductions DVD available Notes available Suppliers listed (plays the blonde Swedish hitchhiker) Le Grand délire 1970s Hard Love 1975, Dir. Serge Korber as John Thomas Notes available (plays Joséphine, a secretary) Hard Work alternative title for Hard Love Notes available (plays Joséphine, a secretary) Ijsk(l)ontjes voor een hete bliksem alternative title for Hard Love Notes available (plays Joséphine, a secretary) Ikzal je pakken alternative title for Introductions Notes available Suppliers listed (plays the blonde Swedish hitchhiker) Infernales pénétrations dans les 69 positions alternative title for Les Soixante-neuf positions Notes available (as Bonita Super, plays Eva, a dancer, non-sex) Introductions 1976, Dir. Jean Desvilles as Georges Fleury Notes available Suppliers listed (plays the blonde Swedish hitchhiker) Introduzione erotica alternative title for Introductions Notes available Suppliers listed (plays the blonde Swedish hitchhiker) Jeunes filles perverses alternative title for Hard Love Notes available (plays Joséphine, a secretary)

Jouisseuse et perverse alternative title for Les Bachelières en chaleur Notes available (archive footage from Hard Love, non-sex) Mabuse 1970s Orgasmi deliranti alternative title for Les Bachelières en chaleur Notes available (archive footage from Hard Love, non-sex) La Passera parlante alternative title for Le Sexe qui parle Notes available Suppliers listed (uncredited, the girl in the film within a film) Pussy Talk alternative title for Le Sexe qui parle Notes available Suppliers listed (uncredited, the girl in the film within a film) Sex Academy alternative title for Les Bachelières en chaleur Notes available (archive footage from Hard Love, non-sex) Le Sexe qui parle 1975, Dir. Claude Mulot (as Frédéric Lansac) and Francis Leroi DVD available Notes available Suppliers listed (uncredited, the girl in the film within a film) El Sexo que Habla alternative title for Le Sexe qui parle DVD available Notes available Suppliers listed (uncredited, the girl in the film within a film) Sexual Desire alternative title for Les Soixante-neuf positions Notes available (as Bonita Super, plays Eva, a dancer, non-sex) Les Soixante-neuf positions 1976, Dir. Alphonse Beni Notes available (as Bonita Super, plays Eva, a dancer, non-sex) La Vie sentimentale de Walter Petit alternative title for Hard Love Notes available (plays Joséphine, a secretary) Les Weekends d'un couple pervers alternative title for Introductions DVD available Notes available Suppliers listed (plays the blonde Swedish hitchhiker) Reticulated tracery.[76] Second Pointed architecture deployed tracery in highly decorated fashion known as Curvilinear and Flowing (Undulating).[76] These types of bar-tracery were developed further throughout Europe in the 15th century into the Flamboyant style, named for the characteristic flame-shaped spaces between the tracery-bars.[76] These shapes are known as daggers, fish-bladders, or mouchettes.[76] Third Pointed or Perpendicular Gothic developed in England from the later 14th century and is typified by Rectilinear tracery (panel-tracery).[76] The mullions are often joined together by transoms and continue up their straight vertical lines to the top of the window's main arch, some branching off into lesser arches, and creating a series of panel-like lights.[76] Perpendicular strove for verticality and dispensed with the Curvilinear style's sinuous lines in favour of unbroken straight mullions from top to bottom, transected by horizontal transoms and bars.[78] Four-centred arches were used in the 15th and 16th centuries to create windows of increasing size with flatter window-heads, often filling the entire wall of the bay between each buttress.[76] The windows were themselves divided into panels of lights topped by pointed arches struck from four centres.[76] The transoms were often topped by miniature crenallations.[76] The windows at Cambridge of King’s College Chapel (1446–1515) represent the heights of Perpendicular tracery.[78] Tracery could also be found on the interior of buildings, covering the walls with overlaid tracery forming blind arcades. Tracery was also used for decorating the exterior: at Strasbourg Cathedral the west front is ornamented with elaborate bar tracery.[78] Lancet Gothic, Ripon Minster west front (begun 1160) Plate tracery, Chartres Cathedral clerestory (1194-1220) Plate tracery, Lincoln Cathedral "Dean's Eye" rose window (c.1225) Geometrical Decorated Gothic, Ripon Minster east window Rayonnant rose window, Strasbourg Cathedral west front Flamboyant rose window, Amiens Cathedral west front Curvilinear window, Limoges Cathedral nave Perpendicular four-centred arch, King's College Chapel, Cambridge west front Early bar tracery in Soissons Cathedral (13th c.) Bar-tracery, Lincoln Cathedral east window Flamboyant, Sainte-Chapelle de Vincennes, west front Blind tracery, Tours Cathedral (16th century) Transition from Romanesque to Gothic architecture Elements of Romanesque and Gothic architecture compared # Structural element Romanesque Gothic Developments 1 Arches Round Pointed The pointed Gothic arch varied from a very sharp form, to a wide, flattened form. 2 Vaults Barrel or groin Ribbed Ribbed vaults appeared in the Romanesque era and were elaborated in the Gothic era. 3 Walls Thick, with small openings Thinner, with large openings Wall structure diminshed during the Gothic era to a framework of mullions supporting windows. 4 Buttresses Wall buttresses of low projection. Wall buttresses of high projection, and flying buttresses Complex Gothic buttresses supported the high vaults and the walls pierced with windows 5 Windows Round arches, sometimes paired Pointed arches, often with tracery Gothic windows varied from simple lancet form to ornate flamboyant patterns 6 Piers and columns Cylindrical columns, rectangular piers Cylindrical and clustered columns, complex piers Columns and piers developed increasing complexity during the Gothic era 7 Gallery arcades Two openings under an arch, paired. Two pointed openings under a pointed arch The Gothic gallery became increasingly complex and unified with the clerestory Annotated elevation, Laon Cathedral Arcade Arcade Gallery Gallery Triforium Triforium Clerestory Clerestory Annotated elevation, Laon Cathedral Early development of Gothic architecture One of the features that unifies the internal appearance of a major Gothic church is the emphasis on vertical elements, in particular attached shafts that pass from the floor to the vault.[citation needed] These first appeared in France in the early 11th century in churches that have broad ribs reinforcing a barrel vault. They are also seen at Lisbon and Speyer Cathedrals, Santiago de Compostela and la Madeleine Vezelay in conjunction with groin vaults, as well as at the three Norman cathedrals of East Anglia, of which Peterborough and Ely retain wooden ceilings, while Norwich was not vaulted until the 15th century.[citation needed] The admission of light to the building through a multiplicity of windows was an important element in England. At Peterborough Cathedral, the polygonal Norman apse has remained, as has three tiers of large Norman windows, now filled with Gothic tracery and 19th century stained glass.[citation needed] The transept ends at Peterborough, Ely and Norwich each have three rows of large Norman windows. This grouping of windows prefigures the clusters of Gothic lancet windows that are found in many English churches such Salisbury Cathedral.[citation needed] Rose windows, characteristic of the west fronts and transept ends of the churches of France, were common in architecture of Germany in the Romanesque period, where they appear in various forms at Worms Cathedral, and in Italy where they are either untraceried oculi or wheel windows such as that at the Basilica of San Zeno, Verona.[citation needed] The first rose window above the west portal in France is said[by whom?] to be that at the Abbaye Saint-Denis 1140.[citation needed] Saint-Denis is generally cited as the first truly Gothic building, however the distinction is best reserved for the choir, of which the ambulatory remains intact.[citation needed] Noyon Cathedral saw the earliest completion of a rebuilding of an entire French cathedral in the new style from 1150 to 1231.[citation needed] While using all those features that came to be known as Gothic, including pointed arches, flying buttresses and ribbed vaulting, the builders continued to employ many of the features and much of the character of Romanesque architecture including round-headed arch throughout the building, varying the shape to pointed where it was functionally practical to do so.[citation needed] At Saint-Denis, Sens Cathedral, Noyon Cathedral, Notre-Dame de Paris, and at the east end of Canterbury Cathedral, simple cylindrical columns predominate over the Gothic forms of clustered columns and shafted piers.[citation needed] Wells Cathedral in England, where building commenced at the eastern end in 1175, was the first building in which the designer broke free from Romanesque forms. The architect entirely dispensed with the round arch in favour of the pointed arch and with cylindrical columns in favour of piers composed of clusters of shafts which lead into the mouldings of the arches. The transepts and nave were continued by Adam Locke in the same style and completed in about 1230. The character of the building is entirely Gothic. Wells Cathedral is thus considered the first truly Gothic cathedral.[79][page needed] The south western tower at Ely Cathedral, England The nave vault with pointed transverse arches at Durham Cathedral The sexpartite ribbed vault at Saint Etienne, Caen interior of the Cathedral of Cefalu. Plan, elevation and parts of a Gothic church Plan Plan of a Gothic cathedral Most large Gothic churches and many smaller parish churches are of the Latin cross (or "cruciform") plan, with a long nave making the body of the church, a transverse arm called the transept and, beyond it, an extension which may be called the choir, chancel or presbytery. There are several regional variations on this plan. The area where the nave and transept meet is called the crossing, and in England is often surmounted by a stone tower, as at Salisbury Cathedral and York Minster, visible on a ground-plan by the sturdy piers that support the tower.[citation needed] (see below) The nave is generally flanked on either side by aisles, usually single as at York Minster and Florence Cathedral but sometimes double as at Bourges and Cologne Cathedrals.[citation needed] (see plans below). Aisles may extend along the sides of the transepts as well, as at Cologne, Amiens Cathedral and York Minster.(see plans) In the South of France there is often a single wide nave and no aisles, as at Saint-Bertrand-de-Comminges and Albi Cathedrals.[citation needed] In some churches with double aisles, or additional rows of chapels between the buttresses as at Notre-Dame de Paris, the transept does not project beyond the aisles (See plan).[citation needed] In English churches and cathedrals, transepts tend to project boldly and there may be two of them, as at Salisbury and Lincoln Cathedrals. The double transepts are to provide extra chapels, in lieu of the apsidal chapels found in major French churches (See Salisbury plan).[citation needed] The eastern arm shows considerable diversity. In France and Germany, 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".[80] In England the eastern arm is generally long and may have two distinct sections- choir and presbytery. It is almost always square ended with a cliff-like exterior face. Often there is a projecting Lady Chapel, dedicated to the Virgin Mary, as at Salisbury.[32][page needed][40][page needed][81][page needed] In Italy, the eastern projection beyond the transept is usually a shallow chapel or sometimes an apse.[citation needed]. See section below The ground-plans of the churches show not only the larger parts of the building, developed for Catholic liturgy – the nave, aisles, transept, choir and chapels – but also reveal that each building contains a pattern of regular divisions called "bays". These bays or compartments are square, rectangular and sometimes trapezoidal, and are defined by the positions of the piers, columns and attached shafts that support the arcades and the overhead vaults. While internally the divisions are created by the locations of the vertical members, externally, the bays can be determined by the positions of the buttresses.[82] Other elements that are visible on the plans are the locations of towers on the west fronts, porches such as those at Bourges and Salisbury, and the octagonal Chapter House at York Minster.[citation needed] Bourges Cathedral, France, length 125 m. Notre Dame de Paris, France, length 128 m. Amiens Cathedral, France, length 145 m. Cologne Cathedral, Germany, length 144 m, completed C19th, to dimensions established in C14th Salisbury Cathedral, England, length 135 m York Minster, England, length 159 m Elevation This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Gothic architecture" – news · newspapers · books · scholar · JSTOR (April 2020) (Learn how and when to remove this template message) Gothic church, showing nave, aisle, buttresses, arcade, gallery, clerestory and vault Gothic churches were typically built in basilica form. Architecturally, a basilica has a longitudinal nave, with a lower aisle on each side, separated by rows of columns or piers, and generally with windows let into that part of the nave that rises above the outer roof of the aisles. This upper

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