Evangelhos de Oto III

Otão III, Sacro Imperador Romano-Germânico

Origem: Wikipédia, a enciclopédia livre.

Representação de Otão III

Otão III, ou Oto III (Kassel, 23 de janeiro de 980 - Civita Castellana, 23 ou 24 de janeiro de 1002), foi rei da Alemanha de 983 até 1002 e imperador do Sacro Império Romano-Germânico de 996 até 1002. Filho de Otão II, foi eleito rei em Verona aos três anos dias após a morte de seu pai.

Juventude

Oto III.

Oto nasceu em Kessel, próximo a Goch, hoje nos Países Baixos.

Foi proclamado rei da Alemanha em Verona em junho de 983, quando tinha apenas tres anos de idade, e coroado em Aachen (Aix-la-Chapelle em 25 de dezembro do mesmo ano. Seu pai morreu quatro dias antes da cerimônia, mas a notícia de sua morte só chegou à Alemanha após a coroação.

No início de 984, Henrique II da Baviera, que havia sido deposto como duque da Baviera por Oto II, prendeu Oto e forçou aceitarem sua regência como membro da casa reinante. Para reforçar sua posição aliou-se a Lotário, rei da França Willigis, o arcebispo de Mainz, líder do partido de Oto, induziu Henrique a liberar o rei prisioneiro, recebendo de volta o ducado da Baviera. Oto foi então devolvido a sua mãe, a princesa bizantina Teofânia de Bizâncio, que serviu de regente a partir de então. Ela abandonou a política imperialista de seu marido e devotou-se completamente a aumentar a aliança entre a Igreja e o Império. Ela não conseguiu, entretanto, evitar que a França se libertasse da influência alemã. Ela conseguiu tomar conta dos interesses nacionais do império no leste. Um de seus maiores sucessos foi conseguir manter a supremacia feudal sobre a Boêmia.

Após a morte de Teofânia de Bizâncio em 991, a avó de Oto, Adelaide da Itália, serviu como regente junto com Willigis até que Oto II atingisse a maioridade em 994.

Oto teve como mentores Bernward, o bispo de Hildesheim, e Gerbert de Aurillac, arcebispo de Reims.

Earls Barton

From Wikipedia, the free encyclopedia

Coordinates: 52°15′47″N 0°44′46″W / 52.263°N 0.746°W / 52.263; -0.746

Earls Barton
Earls Barton Earls Barton shown within Northamptonshire
Population	5,353 (2001 census)^[1]
OS grid reference	SP8563
District	Wellingborough
Shire county	Northamptonshire
Region	East Midlands
Country	England
Sovereign state	United Kingdom
Post town	Northampton
Postcode district	NN6
Dialling code	01604
Police	Northamptonshire
Fire	Northamptonshire
Ambulance	East Midlands
EU Parliament	East Midlands
UK Parliament	Daventry
Website	Earls Barton Parish Council
List of places: UK • England • Northamptonshire

Earls Barton is a village and civil parish in eastern Northamptonshire.

The village is famous for:

its Saxon church - which is one of the most famous remaining examples of its type in the country - another example being at nearby Brixworth.
its shoe-making heritage.

The village was the inspiration for the film Kinky Boots and part of the film was shot here. It is based on the true story of a local boot maker who turns from traditional boots to producing fetish footwear in order to save the ailing family business and the jobs of his workers.

In The King's England: Northamptonshire, edited by Arthur Mee, we learn that:

It was here when The Conqueror gave these lands to his niece the Countess Judith, and except for the clock and the battlements it looks today as it looked then... It is called Earls Barton because it was the Earl of Huntingdon's barley farm; his house stood where the church stands and the remains of its moat can be seen.

Nikolaus Pevsner however, seems to disagree with this assessment and describes it as:

...a conspicuous and quite unmistakable Norman castle-motte. It is so close to the church that it stands partly in the church-yard; on this side it appears to have been cut back to make more room. To the N it is protected by a particularly fine ditch.

He goes on to argue that the castle was founded at the time of the Norman conquest of England and its builder ignored the then existing church, leaving it in its bailey, for a later demolition that never happened. Ironically the church outlived the castle.

In the village's small market square is a pharmacy run by a member of the Jeyes the chemists family, who invented and manufactured Jeyes Fluid and the Philadelphus Jeyes chemist chain and who lived nearby at Holly Lodge in Boughton.

Earls Barton Village centre

The Saxon Church at Earls Barton

Earls Barton Church

The Old Church Door

History

The first Saxon settlement at Earls Barton was one of various settlements built on a spring-line on the Northern bank of the River Nene. The site is to be found on a spur above the flood plain. Originally (i.e. before 600 AD) the Saxon village was known as Bere-tun - which means "a place for growing Barley. Following the Norman invasion, the Domesday Book records the village as being called Buarton(e), with Countess Judith, the King's niece is listed as both the land and mill owner. She married Waltheof, Son of Siward, Earl of Northumbria who in 1065 AD became Earl of Northampton - it was from these links and with another Earl - the Earl of Huntingdon, that gave the village its prefix "Erles" from 1261 AD.

Later, in the 14th and 15th centuries a major change took place in the local economy, when sheep rearing gave prominence to the manufacture of woollen cloth, which remained a major cottage industry until the shift to the newly industrialised north several centuries later. With the wool industry, we would also have found:

Rush mat weaving,
Basket making,
Chair bodging and
plastic making.

Another change took place in the 13th century when shoes began to be made from leather bought in nearby Northampton. At this time the village had its own tanyard, which remained in operation until 1984. The census of 1801 shows that the population had by then grown to 729. By 1850 the population had trebled.

Between 1913 and 1921 ironstone was quarried locally with the ore being removed either by train or by an aerial ropeway.

Parish church

The famous Church of England Parish Church of All Saints has been a feature of the town for many centuries. Its famous Saxon tower dates to 970 AD. Pevsner says that the church tower as built was not originally followed by a nave, but a chancel. He also describes the tower's bell openings as being very unusual - having five narrow arches each on turned balastrades.

All Saints' underwent two phases of Norman enlargement, one at either end of the twelfth century.

Other notable features include:

A Norman or Saxon door and arcading on the western end of the building - this was the original entrance to the church,
Medieval rood screen,
Victorian font and pews,
A modern 20th century inner porch and windows

Apart from the Saxon tower, the church is mainly built from Northamptonshire ironstone and limestone, while the tower was constructed from Barnack stone and infilled with local limestone.

Another feature is that every century from the tenth century onwards is represented in either the fabric or the fittings of the church building.

There are three other churches in Earls Barton: Methodist, Baptist and Roman Catholic.

Local sport

The village has a cricket team. The exact date that this club was established is unknown however there has been cricket in Earls Barton since the late 1800s. The club at present has three teams that play in the Northamptonshire Cricket League on Saturdays and a friendly team that plays on Sundays. It also has Kwik Cricket, U11's, U13's, U15 & U17's teams.

The local football team, Earls Barton FC was formed in the late 1800s - with the exact date now not known. When Northampton Town FC (The Cobblers) was first formed in 1897, their first game was against Earls Barton United (EBU) on 18 September 1897. The final score Cobblers 4 - EBU 1.

A speedway training track operated at Earls Barton in the early 1950s.

"Earls Barton Motors" was home to Britain's 1957 stock car World Champion, Aubrey Leighton. Aubrey was a recognized innovator and builder of stock cars, and after his retirement at the end of 1964, his famous "Pink 'Un" no. 42 car saw success in others' hands. Aubrey's son went on to an international motor sport career via Cosworth Racing Engines, and was mechanic for Grand Prix World Champion Ronnie Petersen, as well as in the Indy series in the USA. About 8 miles from Earls Barton is Brafield Stadium ("Northampton International Raceway"), a fast 1/4 mile oval that has hosted stock car racing for over 55 years. Speedway was staged at Brafield Stadium in the late 1950s and again in the late 1960s. The 1950s team were known as the Flying Foxes and the 1960s team were known as the Badgers.

Community projects & facilities etc.

Earls Barton Fire Station
Earls Barton Parish Council
Earls Barton Junior School
Earls Barton Youth Club
Earls Barton Library
Earls Barton Historical Society
Earls Barton Music
Badminton Club
1st Earls Barton Boys Brigade
Under The Tower - Drama Group
Earls Barton Museum of Village Life
The newly refurbished Co-op
Earls Barton Tennis Club
Starfruit Youth Theatre Company
Earls Barton Police Station.
Barton Today is the free community magazine delivered every month to every single home in Earls Barton in colour. It has won a number of awards nationally and claims to be "more than just a village magazine".

This Youth Theatre Group are renowned for their outstanding acting abilities and charisma. They have performed at a number of prestigious theatres including: The Globe, Noel Coward, Sydney Opera House and at the Colosseum. Starfruit have received numerous awards the most recent being the award for the Best Youth Theatre Group in Great Britain.

Sporting link: Earls Barton was the home to one of Britain's greatest stock-car racers and builders, Aubrey Leighton, who won the World Championship in 1957. "Earls Barton Motors" still stands on the Wellingborough Road. Aubrey was a master designer and builder, and even after his retirement at the end of 1964, his car saw success in others' hands.

Aubrey's son Keith went on to international motor sport via Cosworth Racing Engines, and was mechanic for Grand Prix World Champion Ronnie Petersen, as well as in the Indy series in the USA.

A website devoted to the history of this rough-and-tumble sport is www.oldstox.com The people who built and raced stock-cars were a special breed back then: no-nonsense do-it-yourselfers, hard rivals on the track and generous comrades in between times.

Barely 8 miles from Earls Barton is the great race track of Brafield Stadium ("Northampton International Raceway"), a fast 1/4 mile oval. Speedway was staged at Brafield Stadium in the late 1950s and again in the late 1960s. The 1950s team were known as the Flying Foxes and the 1960s team were known as the Badgers.

References

^ "Area selected: Wellingborough (Non-Metropolitan District)". Neighbourhood Statistics: Full Dataset View. Office for National Statistics. http://neighbourhood.statistics.gov.uk/dissemination/viewFullDataset.do?instanceSelection=03070&productId=779&$ph=60_61&datasetInstanceId=3070&startColumn=1&numberOfColumns=4&containerAreaId=790475. Retrieved 17 June 2010.

Sources

Palmer, Joyce. Earls Barton: The history of a Northamptonshire Parish. ISBN 0-300-09632-1.
Pevsner, Nikolaus; Cherry, Bridget (revision) (1973) [1961]. The Buildings of England: Northamptonshire. Harmondsworth: Penguin Books. pp. 195-196. ISBN 0 14 071022 1.

External links

Portas em bronze na Catedral de Hildesheim

Escultura do românico

Origem: Wikipédia, a enciclopédia livre.

Tímpano do portal da Catedral de Saint Lazare, Autun, França.
O Juízo Final:
é uma das cenas de eleição para o tímpano românico. Cristo entronado ao centro de uma mandorla (forma em amêndoa, símbolo da glória), indica com a mão direita os eleitos para o Paraíso e com a esquerda sentencia os condenados ao Inferno.

A escultura do românico insere-se, de um modo geral, dentro dos objectivos artísticos do movimento, nomeadamente a comunicação entre a igreja católica e o fiel, naquele que é o reino de Deus na Terra, o templo. Deste modo a escultura vai assumir uma íntima relação com a arquitectura, inserindo-se no seu espaço como um elemento complementar, e dedicando-se, principalmente, ao ensinamento de cenas bíblicas através de relevos em pedra compreensíveis ao crente leigo.

É no românico, a partir do século XI, que se dão a conhecer as primeiras obras de escultura monumental a surgir desde o século V, período em que deixam de existir peças de vulto redondo (peças tridimensionais) e se observa uma maior produção de pequena estatuária e trabalhos em metal, desenvolvidos durante o período pré-românico.

O factor de impulso da nova produção escultórica vai ser o caminho de peregrinação em direcção a Santiago de Compostela, ao longo do qual vão ser erigidas novas igrejas, sob organização da Ordem de Cluny. Estes templos, construídos em locais de passagem neste período de fervor religioso, são virados para o acolhimento espiritual do peregrino e para a exposição de relíquias. A França e o norte de Espanha são assim os locais onde se podem observar os primeiros exemplos da produção escultórica românica aplicados à arquitectura.

Índice

Aplicação e temática

Capitel da Igreja de Sainte Madeleine, séc. XII, Vézelay, França.

Esta aplicação à arquitectura vai incidir na fachada, principalmente no portal, local de entrada do crente e que, por isso, deverá ter o maior impacto visual. Aqui o relevo assume-se como a melhor ferramenta para a narração de cenas impressionantes, onde a volumetria ajuda a uma maior sensação de realismo que a simples superfície pintada. Para este objectivo, o tímpano, semi-circunferência sobre a entrada, vai ter uma função primordial, e vai apresentar cenas como a Visão do Apocalipse ou o Juízo Final. Estas cenas, dentro do espírito do conceito do Deus vingativo presente no Antigo Testamento, vão ser povoadas não só por figuras bíblicas (evangelistas, apóstolos) e anjos, como também por uma série de criaturas monstruosas, que deverão ser vistas e não mais esquecidas: demónios e criaturas compósitas com corpos desproporcionais e assustadores que dão aso às suas acções de tortura no Inferno.

Relativamente ao modo de representação, o objectivo não é representar a realidade visível, mas sim o invisível e o intocável, tomando-se muito partido da mímica das figuras como meio de comunicação. Não é o tratamento volumétrico o principal, mas sim o valor simbólico das figuras e o conteúdo da sua mensagem. A proporção entre as figuras é outro factor secundário, sendo que as dimensões dependem mais da sua importância hierárquica e do espaço disponível para o relevo, do que da relação que as figuras possuem entre si na realidade. Os corpos são delgados, os gestos são expressivos, e os diferentes elementos do relevo adaptam-se ao espaço arquitectónico, chegando mesmo a ser quase que amontoados de modo a caberem em pequenos espaços.

Também o interior da igreja vai expor algum relevo escultórico na criação de arcadas cegas (arcada em relevo, inserida na parede), e acima de tudo nos capitéis das colunas, onde a liberdade imaginativa e a profusão de figuras fantásticas vão atingir o máximo do burlesco. Os capitéis começam por apresentar decoração de inspiração classicista com folhagens, para passarem depois a ser figurativos, com cenas da Antiguidade, da Bíblia e mesmo temas profanos, que podem estar dispostos em ciclo ao longo de um deambulatório ou claustro.

Escultura de pequeno porte existe também, mas em número reduzido, em marfim ou madeira, que pode ser coberta a ouro ou prata (crucifixos ou estatuetas). O trabalho em bronze vai ter especial importância em instrumentos litúrgicos, portas de igrejas, pias baptismais e tampas de túmulos. Relativamente às tampas de túmulos, surge uma nova tipologia que se difunde a partir do norte de França a meados do século XII, a aplicação da figura do defunto sobre o sarcófago em posição deitada. 122

Diferenças regionais e exemplos mais significativos

Portas em bronze na Catedral de Hildesheim, Alemanha.

Os caminhos de peregrinação levam à internacionalização do românico e, consequentemente, ao surgimento de diferentes escolas e centros produtivos com estilos diferentes. Em geral os artistas do românico permanecem anónimos, mas são conhecidas algumas assinaturas que permitem falar de estilos individuais. A título de exemplo, no capitel do deambulatório da Igreja de Saint Pierre de Chauvigny, da segunda metade do século XII, pode-se ler: GODFRIDUS ME FECIT (Godfridus fêz-me), o que pode, no entanto, indicar tanto o escultor como o autor da encomenda.

França

A escultura românica no sul de França inicia o seu desenvolvimento associada à arquitectura a partir do século XI. Em trabalhos iniciais é notória a influência das iluminuras e trabalhos em metal da Antiguidade.

Igreja de Saint Sernin, século XI, em Toulouse.
Abadia de Moissac, século XI, perto de Toulouse.
Catedral de Autun, século XII, em Autun.
Igreja de Sainte Madeleine, século XII, Vézelay.
Igreja de Saint Pierre, em Angoulême e Igreja de Notre-Dame-la-Grande, em Poitiers, onde, excepcionalmente, a decoração se alastra por toda a fachada e não só no portal.

YEYE

Provença e Itália

Nestas regiões é mais forte a influência das construções da Antiguidade Clássica e a escultura desprende-se mais da estrutura arquitectónica que em França.

Igreja de Saint Gilles-du-Gard, Provença.
Catedral de Fidenza, em Fidenza.

Espanha

Catedral de Santiago de Compostela.
Igreja de S. Martín, em Frómista.
Claustro de Sto. Domingo de Silos, Burgos.

Alemanha e o trabalho em metal

Na Alemanha não se observa o mesmo tipo de evolução da Espanha ou da França relativamente à escultura. Nesta região tem mais impacto a produção de peças em metal, especialmente com origem na oficina de bronzes de Hildesheim do início do século XI, de tradição otoniana. O bispo Bernward, que controla essa produção, vai cunhar o nome de um estilo próprio de peças relacionadas com as cerimónias litúrgicas.

As peças em bronze ou ouro (vasos para lavagem ritual das mãos, cofres para relíquias, etc), encomendadas por reis e bispos, representam não só o gosto artístico da época, mas acima de tudo o poder da classe religiosa.

Tímpanos românicos

Tímpano do portal meridional da Catedral de Santiago de Compostela, Espanha.

Tímpano do portal ocidental da Abadis de Ste-Foy, França.

Tímpano do portal da Igreja de Santo Domingo, Espanha.

Pormenor do tímpano na Igreja de Sainte Madeleine, séc. XII, Vézelay.

Capitéis românicos

Capitel inicial com folhagens do séc. XI, Igreja de Saint Sernin, Toulouse.

Capitel na Abadia de Moissac, séc. XI, Toulouse.

Capitel na Igreja de Sainte Madeleine, séc. XII, Vézelay.

Capitel da Catedral de Autun, O Enforcamento de Judas, séc. XII, Autun.

Ver também

O Wikimedia Commons possui uma categoria contendo imagens e outros ficheiros sobre Escultura do românico

Fontes

Bibliografia

BEDNORZ, Achim, GEESE, Uwe, Skulpturen – Romanik, Gotik, Renaissance, Barock, Feierabend Verlag OHG, Berlim, 2004, ISBN 3-8-9985-048-3
JANSON, H. W., História da Arte, Fundação Calouste Gulbenkian, Lisboa, 1992, ISBN 972-31-0498-9
THIELE, Carmela, Skulptur, Schnellkurs, DuMont Buchverlag, 1995, ISBN 3-7701-3537-7
WETZEL, Christoph, Das Reclam Buch der Kunst, Reclam, 2001, ISBN 3150104769

Tapeçaria de Bayeux

Origem: Wikipédia, a enciclopédia livre.

A Tapeçaria de Bayeux é uma obra feita em bordado, datada do século XII. Foi feita em Inglaterra para comemorar os eventos da batalha de Hastings (14 de Outubro 1066) e o sucesso da Conquista Normanda de Inglaterra, levada a cabo por Guilherme II, Duque da Normandia. Algumas lendas referem que a tapeçaria tenha sido bordada por Matilde da Flandres, rainha consorte de Guilherme, e pelas suas aias. O mais provável é ter sido feita numa oficina profissional, por encomenda de Odo, Bispo de Bayeux e meio irmão de Guilherme. A tapeçaria é um bordado de lã tingida com vários pigmentos vegetais.

A tapeçaria mede cerca de 70 metros de comprimento por meio metro de altura. O trabalho de bordado representa 58 cenas que retratam a caminhada de Guilherme desde a Normandia, passando pelo desembarque de 28 de Setembro e a batalha de Hastings, até à sua coroação como rei de Inglaterra no dia de natal de 1066. Esta disposição é invulgar para a época e faz com que a tapeçaria seja uma peça importante na História da Arte. Alguns historiadores conferem à tapeçaria de Bayeux o estatuto de percursor da banda desenhada(no Brasil, História em Quadrinhos).

Tapeçaria de Bayeux

A secção que representa a batalha de Hastings tem sido estudada por gerações de historiadores militares por ser um documento das armas, armaduras e parafernália militar da época. É também, apesar do óbvio ponto de vista a favor de Guilherme, um dos relatos disponíveis da batalha. Durante muitos anos, julgou-se que Haroldo II de Inglaterra tivesse morrido com uma seta no olho, durante a batalha, com base na tapeçaria de Bayeux. Recentemente, provou-se que a figura tinha sido mal identificada e que Haroldo não se encontra representado. Outra imagem importante contida na tapeçaria é o Cometa Halley, retratado em destaque por ser interpretado como um prenúncio da ascensão de Guilherme ao trono. De facto, cálculos astronómicos mostram que este cometa esteve visível em 1066.

Ligações externas

(em inglês) The Bayeux Tapestry (Imagem)
(em inglês) A guide to the Bayeux Tapestry (Imagem)

O Wikimedia Commons possui multimedia sobre Bayeux

Catedral de Monreale

Origem: Wikipédia, a enciclopédia livre.

Fachada da Catedral de Monreale

A Catedral de Monreale (Duomo di Monreale, em italiano) é uma das mais importantes construções sacras da cultura normanda na Itália. A igreja é dedicada a Santa Maria Nuova, e se localiza na cidade de Monreale, na Sicília.

Foi construída a partir de 1174 por ordem de Guilherme II da Sicília. A lenda narra que certo dia Guilherme adormeceu sob uma árvore no campo e em sonho lhe apareceu a Virgem Maria, que disse: "Neste lugar onde dormes está escondido o maior tesouro do mundo. Escava-o e com ele constrói um templo em minha homenagem". Seguindo o mandado, ao acordar o rei ordenou que o local fosse escavado e ali encontrou um tesouro de moedas de ouro, empregadas na construção do santuário. Para a decoração foram chamados mestres árabes, venezianos e bizantinos especializados na técnica do mosaico, cobrindo a abside e as paredes com painéis de excepcional valor artístico.

Características

A fachada possui um pórtico renascentista com três grandes arcos, acrescentado entre 1547 e 1569, obra de Giovanni Domenico Gagini e Fazio Gagini, que oculta o frontispício primitivo, decorado com mosaicos, relevos e portas de bronze de Bonanno Pisano e Barisano da Trani. Lateralmente se erguem duas torres quadradas assimétricas, ladeado o frontão recuado, decorado com arcos entrelaçados em relevo.

O interior

O amplo interior se divide em três naves, seguindo o esquema das basílicas católicas italianas, integrando características da arquitetura ortodoxa em áreas como o coro tripartido. A colunata monolítica no interior é possivelmente originária de construções mais antigas, e suporta uma série de grandes arcos que separam as naves. Os capitéis coríntios datam do período clássico. Um clerestório elevado ilumina o interior da nave central, e janelas mais baixam se abrem ao longo das estreitas naves laterais. O coro na entrada forma um espaço de características diferenciadas, sendo mais alto e mais largo que a nave, embora dividido de forma semelhante. O teto tem caibramento aparente em madeira ricamente decorada. Separada da nave por um transepto está a capela-mor, de forma absidal e teto em meia-cúpula, com uma janela única ao centro da parede de fundo e um altar-mor do século XVIII de Luigi Valadier, de refinada construção em metais preciosos.

A característica mais notável da construção é a sua decoração interna em mosaicos policromos e dourados, uma obra-prima da técnica, cobrindo quase em totalidade o interior, com um extraordinário efeito de conjunto, mostrando frisos geométricos, medalhões e diversas imagens de santos e anjos, com inscrições em grego e latim, e ilustram vários episódios da Bíblia. De todas as cenas se destaca o monumental Cristo Pantocrator na capela-mor, com a Virgem e o Menino, santos e anjos abaixo. O piso também merece atenção pelo refinado trabalho em mosaico de mármore e pórfiro, numa técnica conhecida como opus alexandrinum, completado somente no século XVI.

No interior também existe as tumbas de Guilherme II, um magnífico sarcófago de pórfiro da mesma época da catedral, e as de sua esposa e seus dois filhos, além de uma urna com as vísceras de São Luís de França. Nos séculos XVII e XVIII foram acrescentadas duas capelas barrocas, embora mais tarde tenham sido isoladas do corpo da igreja. O coro foi parcialmente destruído por um incêndio em 1811, danificando os mosaicos, os órgãos e o forro, reconstruídos poucos anos após, embora com técnica e gosto bastante inferiores aos originais.

Parte do claustro

Construções anexas

Ao lado da Catedral ficam o Palácio Arquiepiscopal e o Mosteiro Beneditino, originalmente construções magnificentes rodeadas de uma grande muralha e torres. Mais tarde o complexo sofreu profundas remodelações, restando pouco da arquitetura normanda primitiva, salvo alguns torreões e o belo claustro, um dos mais significativos da Itália por suas dimensões e rica decoração de mosaicos e colunas duplas, cujos capitéis são todos diferentes entre si. Guy de Maupassant descreveu o claustro como "maravilhoso (...), sugerindo uma sensação de graça que nos faz desejar ficar aqui para sempre (...). Nunca vi nem posso imaginar uma colunata com maior harmonia".

Galeria

Detalhe do interior

O grande Pantocrator na abside

Detalhe dos mosaicos

Outro aspecto do interior

O Wikimedia Commons possui uma categoria contendo imagens e outros ficheiros sobre Catedral de Monreale

Candelabro de Glaucester

Gloucester Cathedral

From Wikipedia, the free encyclopedia

Basic information
Gloucester Cathedral
The western end of the cathedral
Location	Gloucester
Full name	Cathedral Church of St Peter and the Holy and Indivisible Trinity
Geographic coordinates	51°52′03″N 2°14′48″W / 51.8675°N 2.246667°W / 51.8675; -2.246667Coordinates: 51°52′03″N 2°14′48″W / 51.8675°N 2.246667°W / 51.8675; -2.246667
County	Gloucestershire
Country	England
Ecclesiastical information
Denomination	Church of England
Province	Canterbury
Diocese	Gloucester
Diocese created	1541
Website	www.gloucester cathedral.org.uk
Building information
Dates built	1089–1499
Architectural style	Romanesque & Gothic
Length	130m
Width across transepts	43.9m
Height (max)	68.6m
Towers	1
Tower height(s)	68.6m

Gloucester Cathedral, or the Cathedral Church of St Peter and the Holy and Indivisible Trinity, in Gloucester, England, stands in the north of the city near the river. It originated in 678 or 679 with the foundation of an abbey dedicated to Saint Peter (dissolved by King Henry VIII).

History

Gloucester Cathedral in 1828

Foundations

The foundations of the present church were laid by Abbot Serlo (1072–1104), later to become the first Dean of Exeter. Walter Gloucester (d. 1412) the abbey's historian, became its first mitred abbot in 1381. Until 1541, Gloucester lay in the see of Worcester, but the separate see was then constituted, with John Wakeman, last abbot of Tewkesbury, as its first bishop. The diocese covers the greater part of Gloucestershire, with small parts of Herefordshire and Wiltshire. The cathedral has a stained glass window containing the earliest images of golf. This dates from 1350, over 300 years earlier than the earliest image of golf from Scotland.^[1] There is also a carved image of people playing a ball game, believed by some to be one of the earliest images of medieval football.

Construction and architecture

South cloisters with fan vaulted roof

"Monk's lavatory" a 14th century shared washing basin running along the north walk cloisters^[2]

The cathedral from the south west in 1895

The cathedral, built as the abbey church, consists of a Norman nucleus (Walter de Lacy is buried there), with additions in every style of Gothic architecture. It is 420 feet (130 m) long, and 144 feet (44 m) wide, with a fine central tower of the 15th century rising to the height of 225 ft (69 m) and topped by four delicate pinnacles, a famous landmark. The nave is massive Norman with an Early English roof; the crypt, under the choir, aisles and chapels, is Norman, as is the chapter house. The crypt is one of the four apsidal cathedral crypts in England, the others being at Worcester, Winchester and Canterbury.

The south porch is in the Perpendicular style, with a fan-vaulted roof, as also is the north transept, the south being transitional Decorated Gothic. The choir has Perpendicular tracery over Norman work, with an apsidal chapel on each side: the choir vaulting is particularly rich. The late Decorated east window is partly filled with surviving medieval stained glass. Between the apsidal chapels is a cross Lady chapel, and north of the nave are the cloisters, the carrels or stalls for the monks' study and writing lying to the south. The cloisters at Gloucester are the earliest surviving fan vaults, having been designed between 1351 and 1377 by Thomas de Cambridge^[3].

The most notable monument is the canopied shrine of King Edward II of England who was murdered at nearby Berkeley Castle (illustration below). The building and sanctuary were enriched by the visits of pilgrims to this shrine. In a side-chapel is a monument in coloured bog oak of Robert Curthose, eldest son of William the Conqueror and a great benefactor of the abbey, who was interred there. Monuments of Bishop Warburton and Dr Edward Jenner are also worthy of note.

Between 1873 and 1890, and in 1897, the cathedral was extensively restored by Sir George Gilbert Scott.

Misericords

The cathedral has forty-six 14th-century misericords and twelve 19th-century replacements by George Gilbert Scott. Both types have a wide range of subject matter: mythology, everyday occurrences, religious symbolism and folklore.

Music

Three Choirs Festival

An annual musical festival, the Three Choirs Festival, is hosted by turns in this cathedral and those of Worcester and Hereford in turn.^[4] The festival is the oldest annual musical festival in the world. Three Choirs Festival

Organ

Details of the organ from the National Pipe Organ Register

Organists

The known organists of the cathedral are listed below. In modern times, the most senior post has become known as Director of Music; only these names are recorded here.

1582 Robert Lichfield
1620 Elias Smith
1620 Philip Hosier
1638 Berkeley Wrench
1640 John Okeover
1662 Robert Webb
1665 Thomas Lowe
1666 Daniel Henstridge
1673 Charles Wren

1679 Daniel Rosingrave
1682 Stephen Jeffries
1710 William Hine
1730 Barnabas Gunn
1743 Martin Smith
1782 William Mutlow
1832 John Amott
1865 Samuel Sebastian Wesley

1876 Charles Harford Lloyd
1882 Charles Williams
1897 Sir Arthur Herbert Brewer
1928 Herbert Sumsion
1967 John Sanders
1994 David Briggs
2002 Andrew Nethsingha
2007 Adrian Partington^[5]

Assistant organists

Tomb of Edward II

William Hine 1707 – 1710 (later organist of Gloucester Cathedral)
John Alexander Matthews 1862 - 1865
Henry John Vaughan ? - 1873
George Robertson Sinclair 1879 – 1880 (later organist at Truro Cathedral and Hereford Cathedral)
A. Herbert Brewer 1880 - 1882
George Washbourn Morgan
James Capener
A. Herbert Brewer - 1896
Ivor Morgan 1898
Ambrose Robert Porter 1907 – 1913 (later organist of Lichfield Cathedral)
Harold C. Organ 1915 -
Reginald Tustin Baker 1920 – 1926 (later organist of Sheffield Cathedral)
William O Minay 1926 – 1927 (later organist of Wigan Parish Church)
Arthur John Pritchard 1927 – 1932^[6]
(Alfred) Melville Cook 1932 – 1937^[7] (later organist of Hereford Cathedral)
W. Lugg 1938
Peter Stuart Rodway
Donald Frederick Hunt 1948 – 1954
Wallace Michael Ross 1954 – 1958 (later organist of Derby Cathedral)
John Sanders 1958 – 1963^[8]
Richard Latham
John Francis Clough
Andrew Millington 1975 – 1983 (later organist of Guildford Cathedral)
Mark Blatchly 1983 – 1990
Mark Lee 1990 – 1998
Ian Ball 1998 – 2002
Robert Houssart 2002 – 2008
Ashley Grote 2008 – current

This list is incomplete; you can help by expanding it.

Use by schools and as a film location

Locations for Harry Potter films

The cathedral has been used from 2000 as a location for filming the first, second and sixth Harry Potter films, which has generated revenue and publicity, but caused some controversy amongst those who suggest that the theme of the films was unsuitable for a church.

Doctor Who

In 2008 the Cathedral was used by BBC Wales as a location for the Doctor Who Christmas Special.

Academic use

University of Gloucestershire

Degree ceremonies of the University of Gloucestershire take place at the cathedral.^[9]

The King's School

The cathedral is also used during school term-time as the venue for regular school assemblies, known as morning chapel by The King's School, Gloucester which is deeply historically and physically connected to the cathedral, and also for events by the High School for Girls (Denmark Road, Gloucester), the Crypt Grammar School for boys and Ribston Hall High School.

Timeline

678-9 A small religious community was founded here in Saxon times by Osric of the Hwicce. His sister Kyneburga was the first Abbess.
1017 Secular priests expelled; the monastery given to Benedictine monks.
1072 Serlo, the first Norman abbot, appointed to the almost defunct monastery by William I.
1089 Foundation stone of the new abbey church laid by Robert de Losinga, Bishop of Hereford.
1100 Consecration of St. Peter’s Abbey.
1216 First coronation of King Henry III.
1327 Burial of King Edward II.
1331 Perpendicular remodelling of the quire.
1373 Great Cloister begun by Abbot Horton; completed by Abbott Frouster (1381–1412).
1420 West End rebuilt by Abbot Morwent
1450 Tower begun by Abbot Sebrok; completed by Robert Tully.
1470 Lady Chapel rebuilt by Abbot Hanley; completed by Abbot Farley (1472–98)
1540 Dissolution of Abbey
1541 Refounded as a Cathedral by King Henry VIII.
1616–21 William Laud holds the office of dean of Gloucester.
1649–60 Abolition of Dean and Chapter, reinstated by Charles II.
1735–52 Martin Benson, Bishop of Gloucester carried out major repairs and alterations to the cathedral.
1847–73 Beginning of extensive Victorian restoration work (Frederick S. Waller and Sir G. Gilbert Scott, architects).
1953 Major appeal for the restoration of the cathedral; renewed
1968 Cathedral largely re-roofed and other major work completed.
1989 900th anniversary appeal.
1994 Restoration of tower completed.
2000 Celebration of the novecentennial of the consecration of St Peter’s Abbey

Notes

^ "The first Golf record?". A Royal and Ancient Golf History video. Fore Tee Video. http://www.foreteevideo.co.uk/Gloucester.html. Retrieved 2009-01-16.
^ Britton, John; Godwin, George (1838), A dictionary of the architecture and archaeology of the middle ages: including words used by ancient and modern authors in treating of architectural and other antiquities ... also, biographical notices of ancient architects, Longman, Orme, Brown, Green, and Longmans, p. 85
^ Harvey, John (1978). The Perpendicular Style. Batsford. ISBN 0713416106.
^ "Three Choirs Festival". http://www.3choirs.org/. Retrieved 2009-01-16.
^ "New Director of Music Announced". Gloucester Cathedral website. Dean and Chapter of Gloucester Cathedral. 2007-05-08. http://www.gloucestercathedral.org.uk/news.asp?id=95&page=1. Retrieved 2007-10-11.
^ Simmons (1962) Who's who in music and musicians' international directory p.168
^ Simmons (1962) Who's who in music and musicians' international directory p.45
^ Shenton, Kenneth (2003-12-31). "John Sanders". Obituaries (The Independent). http://www.independent.co.uk/news/obituaries/john-sanders-549173.html. Retrieved 2009-01-16.
^ Information for the Ceremonies held at Gloucester Cathedral University of Gloucestershire website

References

Simmons, D A (1962). Who's who in music and musicians' international directory (4th. ed.). London: Burke's Peerage Ltd. OCLC 13309419. Published in America as Simmons, David (1962). Who's who in music and musicians' international directory (4th. ed.). New York: Hafner Publishing Company. OCLC 12923270.

External links

Wikimedia Commons has media related to: Gloucester Cathedral

Renier de Huy

From Wikipedia, the free encyclopedia

Baptism of Christ on the Liège font.

Another view of the font

Renier de Huy or Rainer of Huy (also Reiner, van, etc in any combination) was a 12th century metalworker and sculptor to whom is attributed a major masterpiece of Mosan art, the baptismal font at St Bartholomew's Church, Liège in Liege, Belgium of 1107-18.^[1] The Meuse River valley in modern Belgium and France, roughly comprising the Diocese of Liège, was the leading 12th century centre of Romanesque metalwork, which was still the most prestigious medium in art. Nothing is known of Rainer's life other than that a "Reinerus aurifaber" witnessed a charter of the Bishop of Liège relating to a church in Huy in 1125, but the 15th century Liège chronicle mentions him as the artist of the font.^[2] He may have died about 1150.^[3] Another equally shadowy figure in Mosan metalwork from the next generation, Godefroid de Huy/de Claire, also came from the small but prosperous city of Huy on the Meuse.

The only other work generally agreed to be by the same master as the font is a small bronze crucifix figure (Schnütgen Museum, Cologne); another in Brussels is probably from the same mould, with extra chasing. Others in Brussels and Dublin are probably from the workshop as they have many similarities.^[4]

Notes

^ Swarzenski, 58, Calkins, 125
^ Lasko, 182 (other sources, such as Oxford, say the mention was 14th not 15th century)
^ Beckwith, 178. The Getty Union Artist Names List has him active until 1144 [1]
^ Lasko, 181, and plate 182 for the Cologne figure. one of the Brussels figures is illustrated in Xhayet and Halleux, before p. 129

References

Beckwith, John. Early Medieval Art: Carolingian, Ottonian, Romanesque, Thames & Hudson, 1964 (rev. 1969), ISBN 050020019X
Calkins, Robert G.; Monuments of Medieval Art, Dutton, 1979, ISBN 0525475613
Lasko, Peter, Ars Sacra, 800-1200, Penguin History of Art (now Yale), 1972 (nb, 1st edn.) ISBN14056036X
"Oxford": Rainer of Huy: The Oxford Dictionary of Art." Accessed 10 Jan. 2010, [2]
Swarzenski, Hanns. Monuments of Romanesque Art; The Art of Church Treasures in North-Western Europe, Faber and Faber, 1974, ISBN 0571105882
Xhayet, Geneviève and Halleux, Robert (eds), Études sur les fonts baptismaux de Saint-Barthélémy à Liège, Editions du CEFAL, 2006, ISBN 287130212X, 9782871302124 google books

Durham Cathedral

From Wikipedia, the free encyclopedia

Basic information
Durham Cathedral
Durham Cathedral from across the River Wear
Full name	Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham
Country	England
Ecclesiastical information
Denomination	Church of England
Tradition	Broad Church
Province	York
Diocese	Durham
Diocese created	995 (continuation of the see of Lindisfarne)
Dean	The Very Revd Michael Sadgrove
Precentor	The Revd Canon Dr David Kennedy
Canons	The Revd Canon Rosalind Brown The Revd Canon Dr Stephen Cherry The Ven Ian Jagger The Revd Canon Prof Mark McIntosh
Other chapter members	Philip Davies (Clerk) Dr David Hunt (Lay member) Adrian Beney (Lay member)
Director of Music	Canon James Lancelot (Organist and Master of the Choristers)
Organist	Keith Wright (Sub Organist)
Website	www.durhamcathedral.co.uk
Building information
Dates built	1093-1133
Architectural style	Romanesque
Length	469 feet (143 m) (interior)
Width (nave)	81 feet (25 m) (inc aisles)
Height (nave)	73 feet (22 m)
Height (choir)	74 feet (23 m)
Towers	3
Tower height(s)	218 feet (66 m) (central tower) 144 feet (44 m) (western towers)

Anglicanism portal

The Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham — known as Durham Cathedral — in the city of Durham, England, is the seat of the Anglican Bishop of Durham. The Bishopric dates from 995, with the present cathedral being founded in AD 1093. The cathedral is regarded as one of the finest examples of Norman architecture and has been designated a UNESCO World Heritage Site along with nearby Durham Castle, which faces it across Palace Green.

The present cathedral replaces the 10th century "White Church" built as part of a monastic foundation to house the shrine of Saint Cuthbert of Lindisfarne. The treasures of Durham Cathedral include relics of St Cuthbert, the head of St Oswald of Northumbria and the remains of the Venerable Bede.

Durham Cathedral occupies a strategic position on a promontory high above the River Wear. From 1080 until the 19th century the bishopric enjoyed the powers of a Bishop Palatine, having military as well as religious leadership and power. Durham Castle was built as the residence for the Bishop of Durham. The seat of the Bishop of Durham is the fourth most significant in the Church of England hierarchy, and he stands at the right hand of the monarch at coronations. Signposts for the modern day County Durham are subtitled "Land of the Prince Bishops."

There are daily Church of England services at the Cathedral, with the Durham Cathedral Choir singing daily except Mondays and while the choir is in recess. The cathedral is a major tourist attraction within the region, the central tower of 217 feet (66 m) giving views of Durham and the surrounding area.

History

Saxon

Legend of the founding of Durham depicted on cathedral

The see of Durham takes its origins from the Diocese of Lindisfarne, founded by Saint Aidan at the behest of Oswald of Northumbria around AD 635. The see lasted until AD 664, at which point it was translated to York. The see was then reinstated at Lindisfarne in AD 678 by the Archbishop of Canterbury. The community at Lindisfarne Priory produced many saints, of which Saint Cuthbert who was Bishop of Lindisfarne from AD 685 until his death on Farne Island in 687 is central to the development of Durham Cathedral.

After repeated Viking raids, the monks fled Lindisfarne in AD 875, carrying St Cuthbert's relics with them. The diocese of Lindisfarne remained itinerant until 882, when a community was re-established in Chester-le-Street. The see had its seat here until AD 995, when further incursions once again caused the monks to move with the relics. According to local legend, the monks followed two milk maids who were searching for a dun (i.e. brown) cow and were led into a peninsula formed by a loop in the River Wear. At this point Cuthbert's coffin became immovable. This was taken as sign that the new shrine should be built here. A more prosaic set of reasons for the selection of the peninsula is its highly defensible position, and that a community established here would enjoy the protection of the Earl of Northumberland, as the bishop at this time, Aldhun, had strong family links with the earls. Nevertheless, the street leading from The Bailey past the Cathedral's eastern towers up to Palace Green is named Dun Cow Lane.

Initially, a very simple temporary structure was built from local timber to house the relics of Cuthbert. The shrine was then transferred to a sturdier, probably wooden, building known as the White Church. This church was itself replaced three years later in 998 by a stone building also known as the White Church and which was complete apart from its tower by 1018. Durham soon became a site of pilgrimage, encouraged by the growing cult of Saint Cuthbert. King Canute was one early pilgrim, granting many privileges and much land to the Durham community. The defendable position, flow of money from pilgrims and power embodied in the church at Durham ensured that a town formed around the cathedral, establishing the early core of the modern city.

Norman

The present cathedral was designed and built under William of St. Carilef (or William of Calais) who was appointed as the first prince-bishop by William the Conqueror in 1080.^[1] Since that time, there have been major additions and reconstructions of some parts of the building, but the greater part of the structure remains true to the Norman design. Construction of the cathedral began in 1093 at the eastern end. The choir was completed by 1096 and work proceeded on the nave of which the walls were finished by 1128, and the high vault complete by 1135. The Chapter House, demolished in the 18th century, was built between 1133 and 1140.^[2] William died in 1099 before the building's completion, passing responsibility to his successor Ranulf Flambard who also built Flamwell Bridge, the first crossing of the River Wear in the town. Three bishops William of St. Carilef, Ranulf Flambard, and Hugh de Puiset are all buried in the rebuilt Chapter House.

In the 1170s, Bishop Hugh de Puiset, after a false start at the eastern end where the subsidence and cracking prevented work from continuing, added the Galilee Chapel at the west end of the cathedral.^[3] The five-aisled building occupies the position of a porch, it functioned as a Lady Chapel and the Great West Door was blocked during the Medieval period by an altar to the Virgin Mary. The door is now blocked by the tomb of Bishop Langley. The Galilee Chapel also holds the remains of the Venerable Bede. The main entrance to the cathedral is on the northern side, facing towards the Castle.

In 1228 Richard le Poore came from Salisbury where a new cathedral was being built in the Gothic style.^[3] At this time, the eastern end of the cathedral was in urgent need of repair and the proposed eastern extension had failed. Richard le Poore employed the architect Richard Farnham to design an eastern terminal for the building in which many monks could say the Daily Office simultaneously. The resulting building was the Chapel of the Nine Altars. The towers also date from the early 13th century, but the central tower was damaged by lightning and replaced in two stages in the 15th century, the master masons being Thomas Barton and John Bell.^[2]

The Shrine of St. Cuthbert was located in the eastern apsidal end of the cathedral. The location of the inner wall of the apse is marked on the pavement, and St. Cuthbert's tomb is covered by a simple slab. However, an unknown monk wrote in in 1593:

[The shrine] "was estimated to be one of the most sumptuous in all England, so great were the offerings and jewells bestowed upon it, and endless the miracles that were wrought at it, even in these last days."

—Rites of Durham, ^[3]

Dissolution

Cuthbert's tomb was destroyed on the orders of Henry VIII in 1538,^[1] and the monastery's wealth handed over to the king. The body of the saint was exhumed, and according to the Rites of Durham, was discovered to be uncorrupted. It was reburied under a plain stone slab, but the ancient paving around it remains intact, worn by the knees of pilgrims. Two years later, on December 31, 1540, the Benedictine monastery at Durham was dissolved, and the last prior of Durham -- Hugh Whitehead -- became the first dean of the cathedral's secular chapter.^[3]

The Seventeenth Century

After the Battle of Dunbar, September 3, 1650, Durham Cathedral was used by Oliver Cromwell as a makeshift prison to hold Scottish prisoners-of-war. It is estimated that as many as 3,000 were imprisoned of whom 1,700 died in the cathedral itself, where they were kept in inhumane conditions, largely without food, water or heat. The prisoners destroyed much of the cathedral woodwork for firewood but Prior Castell's clock, which featured the Scottish thistle, was spared. The prisoners' bodies were buried in unmarked graves. The survivors were shipped as slave labour to North America.

In 1946 during work to install a new central heating system for the University, a mass grave of the Scottish soldiers was uncovered. In 1993 the Scottish Covenanter's Memorials Association discussed with the Cathedral the construction of a memorial to the soldiers, but this was inconclusive. Towards the end of 2007 a campaign was launched to commemorate the Dunbar Martyrs. Among the aims of the campaigners are to gain a Christian blessing for the dead and a memorial at the Cathedral burial site. Exhumation of the remains and reburial in Scotland is also under consideration.^[4]

Bishop John Cosin, who had previously been a canon of the cathedral, set about restoring the damage and refurnishing the building with new stalls, the litany desk and the towering canopy over the font. An oak screen to carry the organ was added at this time to replace a stone screen pulled down in the 16th century. On the remains of the old refectory, the Dean, John Sudbury founded a library which contains early printed books.^[3]

1700 - 1900

During the 18th century, the deans of Durham often held another position in the south of England, and after spending the statuatory time in residence, would depart to manage their affairs. Consequently, after Cosin's refurbishment, there was little by way of restoration or rebuilding.^[3] When work commenced again on the building, it was of a most unsympathetic nature. In 1773 the architect George Nicholson, having completed the Prebend's Bridge across the Wear, persuaded the Dean and Chapter to let him smooth off much of the outer stonework of the cathedral, thereby considerably altering its character.^[3]

The architect James Wyatt greatly added to the destruction by demolishing half the Chapter House, altering the stonework of the east end and inserting a very large rose window which was supposed to be faithful to one that had been there in the 13th century. Wyatt also planned to demolish the Galilee Chapel, but the Dean, John Cornwallis, returned and prevented it, just as the lead was being stripped from the roof.^[3]

The restoration of the cathedral's tower between 1854 and 1859 was by the architect Sir George Gilbert Scott, working with Edward Robert Robson, who went on to serve as architect in charge of the cathedral for six years.^[5] and a statue of William Van Mildert, the last prince-bishop (1826–1836) and driving force behind the foundation of Durham University.

20th century

Durham World Heritage marker.

Durham Castle and Cathedral*
UNESCO World Heritage Site
State Party	United Kingdom of Great Britain and Northern Ireland
Type	Cultural
Criteria	ii, iv, vi
Reference	370
Region**	Europe and North America
Inscription history
Inscription	1986 (10th Session)
Extensions	2008
* Name as inscribed on World Heritage List. ** Region as classified by UNESCO.

Today, the Cathedral remains the seat of the Bishop of Durham.

In 1986, the Cathedral, together with the nearby Castle, became a World Heritage Site. The UNESCO committee classified the Cathedral under criteria C (ii) (iv) (vi), reporting, "Durham Cathedral is the largest and most perfect monument of 'Norman' style architecture in England".^[6]

In 1996 the Great Western Doorway was the setting for Bill Viola's large-scale video installation The Messenger.

Durham Cathedral has been featured in the Harry Potter films as Hogwarts School of Witchcraft and Wizardry, where it had a spire digitally added onto the top of the famous towers.

Interior views of the Cathedral were featured in the 1998 film Elizabeth.

21st century

Architectural historian Dan Cruickshank selected the Cathedral as one of his four choices for the 2002 BBC television documentary series Britain's Best Buildings.^[7]

In November 2009 the Cathedral admitted female choristers for the first time.^[8]^[9] Two weeks later the Cathedral featured in a son et lumière festival whose highlight was the illumination of the North Front of the Cathedral with a 15 minute presentation which told the story of Lindisfarne and the foundation of Cathedral, using illustrations and text from the Lindisfarne Gospels.^[10]

Architecture

Floor plan.

The building is notable for the ribbed vault of the nave roof, with pointed transverse arches supported on relatively slender composite piers alternated with massive drum columns, and flying buttresses or lateral abutments concealed within the triforium over the aisles. These features appear to be precursors of the Gothic architecture of Northern France a few decades later, doubtless due to the Norman stonemasons responsible, although the building is considered Romanesque overall. It was the skilled use of the pointed arch and ribbed vault which made it possible to cover far more elaborate and complicated ground plans than hitherto. The buttressing made it possible both to build taller buildings and to open up the intervening wall spaces to create larger windows.

Saint Cuthbert's tomb lies at the East in the Feretory and was once an elaborate monument of cream marble and gold. It remains a place of pilgrimage.