[1] Compare and contrast the cathedrals according to the matrix. To illustrate your post, hand draw a view of your “main” cathedral, scan it and place it at the top of your response. Your written thoughts should fully illuminate the questions asked with each cathedral pairing on the website. Strive for 250- 300 words total for this response. Include additional images, as applicable, if you wish. Also check out the west vs. east page and digest what is written there (20 points).
Cologne Cathedral
Cologne/Salisbury
Inside/Outside
The Cologne Cathedral in Germany and Salisbury Cathedral in England have very similar interiors visually and this is mainly because the people in these regions had basically the same function and purpose for the structure, the only separations are a few taste differences. Both are derived from the basilica prototype structure in Rome because the long nave suits the function of the initiation process, of the strife it takes to keep the religious faith, and mimics the long journey of the pilgrimages taken to these locations for the relics they possessed.
However, the English take on a more grounded, subtle design focusing on a balance of horizontal and vertical space, much like the rational, subdued nature that characterizes most of English design. On the other hand, the Germans have a very similar design approach to the French with concentration on the ethereal beauty of slender verticality reflecting on religious superiority. So while the interiors of both Salisbury and Cologne are very similar visually and ornamentally, there is a large difference in the interior volume ratios, Cologne being taller and slender and Salisbury being shorter and wider.
Externally, there is quite a difference between the two. Salisbury has a huge, horizontal façade that hugs the ground reflecting that the entrance is the human, terrestrial gateway and initiation to the intense verticality of the springing ribbed vaults seen within. To further emphasize the horizontality of Salisbury’s façade; bold stringcourses march across the wall that corresponds to the three inner layers of the cathedral (aisle, gallery, clerestory). In contrast, Cologne Cathedral has an urban location and German focus was more on complex vaulting and the innovation of vertical potential. As such, two monumental spires hail the façade and represent the glory of faith. The buttresses are much more pronounced here because the walls are much higher and require a greater span of support. The exteriors of these two cathedrals are different externally because while the religious concept and model are the same, the approach of representing their faith diverges. The English focused on horizontal gravitation to a vertical interior and the German approach of a vertical oasis boldly contrasting the mundane terrestrial world around it. Furthermore, they differ because their sites are purposely in different locations. Salisbury Cathedral is in a rural location with a courtyard showing that the focus was primarily on human contemplation and mediation from the monks residing there or the pilgrims who came to visit the relics. Cologne Cathedral is an urban structure purposely meant to flaunt its verticality to the public.
Cologne/Amiens
Composition
I believe there is a great deal of symbolism in both one tower and two tower cathedrals. First of all, it appears that most two tower cathedrals have their soaring, ominous spires oriented at the front of the façade, which makes perfect sense if the purpose it to reflect the divinity of religion and inspire people to keep the faith. Secondly, these towers serve a functional role by accommodating bells that herald special occasions or distress calls while also having large windows engrained in their façade to allow the passage of dim light to heighten the mystical experience of the interior. Two towers also provide a symmetrical balance to the façade, which reflects on the stability of the church that in turn reflects on faith and Christianity.
On the other hand, single tower cathedrals have a tendency to orient their spire in the center of the cathedral usually on top of the crossing between the nave and transept. This emphasizes the importance of a central foundation and of a journey from the entrance to the altar placed right beneath the tower. This provides a hierarchical experience, where one starts out lower and travels through the long nave that culminates at the altar, reflecting the whole cycle of life and how faith leads us to an ultimate goal.
Aside from symbolic meaning or functional prowess, there are slight differences in the experience between ambulating through a one tower and two tower cathedral. Immediately, a two tower cathedral provides a monumental and complex visual that gravitates one to the central gap that distinguishes their vertical presence. Alternatively, a central tower cathedral provides a clear visual architectural landmark that draws ones eye from the tip of the spire where it meets the sky below to the central portal.
Ultimately, the differences in design approach are affected by region and how the people of those regions decide to best characterize their faith, as they perceive it. For example, the English tend to materialize their faith utilizing the single tower design, most likely due to their relatively conservative and realistic approach to religion and architecture. On the other hand, France (Amiens) and Germany (Cologne) construct two tower cathedrals probably because they are connected by land and have less of a regional barrier, which allows them to communicate their religious and architectural ideologies more freely.
Symbol
The Duomo or Florence Cathedral housed the largest dome since antiquity and the creation of the Pantheon. The cathedral stands as a monument to the rebirth of enlightened thinking because it was based on meticulous study of antiquity and the engineering prowess of Roman architecture. However, upon completion of the dome, it was realized that a structure of this shape and size was unprecedented even in antiquity. This sparked a frenzy of excitement because the Renaissance was not solely focused on copying Classical models but primarily on reaching the same mind set of the ancients, of going somewhere unprecedented and unknown, to push human potential as the measurer of all things. The dome came to stand as a symbol of human potential that soon radiated throughout Italy and pushed the boundaries of our perceived limits. The originality of the dome became a historical achievement of Florence and is the reason why the dome stands apart as a one-of-a-kind landmark.
The purely Gothic cathedral of Cologne stands as a symbol of heavenly divinity and mysticism. The elongated figurines and stories that speckle the façade depict biblical scenes while colored, pictorial windows filter dim light into the interior. The isolated yet vast interior echoes a quiet arena meant for contemplation in a transitional environment somewhere between this world and the next. The structure is a materialistic representation of heaven on earth and the soaring heights make even the stone seem somehow light and airy.
The rhetoric of both cathedrals are meant to inspire, however the Duomo has an architectural focus on human potential and pushing ourselves to new frontiers in this life while Cologne cathedrals language is a visual and architectural Bible meant to keep peoples attention on life after death. Their material arrangements speak much the same language. In Cologne cathedral, extensive use of glass with its transparent nature was used to dematerialize the interior and the elongated engineering of the stone along with its highly sculptural quality made it a fitting compliment to the glass. Alternatively, the Duomo used brick extensively, especially for the roof and dome because it is lighter than stone and reduced its weight while also creating a more colorful and materialistically substantial cathedral grounded in human presence and creation.
These cathedrals were very much a community event and were funded by guilds and created by local craftsmen so there is with no doubt influence by people of the surrounding districts. Furthermore, these cathedrals were expanded upon for generations and symbolism is derived from multiple sources and variables throughout history. Only by studying the details engraved in these monuments can we form any accreditation of valid meaning from these symbols.
Medieval domestic interiors were dark, bland, and dreary due to the lack of architectural technology that offers modern comfort and convenience. The woman labors in what is most likely a kitchen located at the back of the main house or separated to avoid the hazard of fire reaching the main house. The lack of attention paid to architectural detail reflects the limited means and education of its residents whose focus is on the mundane, daily chores that reflect the nature of the structure. The ceiling would be low pitched because of the structural, financial, and functional need of the space. A hearth or kiln would be located nearby for cooking and other miscellaneous purposes. The door leading outside would surely lend sight to domesticated animals in the vicinity and a bleak, rural environment. Fresh produce items litter the dirt-strewn floor ready to mature into the meal being served that night and stored goods hide in rotting wooden cabinets scattered about the room. Furniture is scarce except for tables and cabinets because comfort is not a concern and the woman has no need for sitting as she can do her job standing up. Decoration is non-existent. The windows continue on but remain tiny slits that let in minimal light and stop once they reach the hearth. The room is cold with drafts entering from the windows and doors. The interior will serve its functional, domestic purpose until the materials are needed elsewhere or until time slowly has its way.
[1]excellent comparisons and a thorough addressing of the website's questions [2] very good...nice supporting images
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