How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth CenturiesO'Reilly, Elizabeth Boyle
History
How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries
O'Reilly, Elizabeth Boyle
Architecture, Gothic; Cathedrals -- France
Each phase of the regional school of Gothic can be found in Angers. In
the tower of St. Aubin, a vestige of an ancient abbey named after a
VI-century bishop of the city, is a ribbed cupola, typical of the
incubating period of the school.[185] It is more a cupola than a Gothic
vault. The stones are laid horizontally in concentric rings, and the
ribs are more decorative than structural, being in part embedded in the
infilling. The abbot who erected it ruled from 1127 to 1154.
The First Period of the Gothic of Anjou is represented at Angers by a
masterpiece of elemental force--the nave of the cathedral. Three huge
so-called domical vaults, truly Gothic in construction, span the
sixty-foot unaisled nave of St. Maurice. The stones are laid parallel
with the groin line of each triangular panel between the intersecting
ribs. Those diagonals are needlessly heavy, for the builders were still
experimenting. The crown of each vault section is ten feet higher than
the framing arches--wall arch and transverse arch. The exceptional span
of Angers' three massive vaults is due to a reconstruction of the nave
undertaken in the XII century, at which time the side aisles of the
Romanesque cathedral were eliminated and the entire width of the edifice
thrown into an unobstructed hall.
Mr. John Bilson, the eminent English archæologist, belittles the
influence of the cupola church in Angevin Gothic, the shape of whose
vaults he attributes to a structural cause. He thinks that the extreme
width of Angers' nave made it essential to raise the keystone above the
crowns of transverse and wall arches in order to prevent its settling.
The diagonals were made more obtuse than the equilateral framing arches
lest they might tower too high. Given the form adopted for the arches,
the _bombé_ vault web resulted inevitably. Arch curves determine the
forms of a vault. None the less is M. Berthelé's account of the
Plantagenet school sound both ethnically and æsthetically. The Angevin
architect chose to persist in the use of _bombé_ vaults over narrow
spans where there was no structural need to raise the keystone.
Public-domain text, read in full here on John Shaqi.
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