Abstract
The following paper will discuss the differences and similarities between gothic architecture in England and gothic architecture in France and argue that, while the two styles or schools can be differentiated in many ways, the one thing that they each have in common is that each one sought to impress upon the credulous, God-fearing worshipper the might of God and the might of the Church which, in its earthly form, served as God's emissary. To gain a proper appreciation of gothic symbolism, however, a great deal of context is required and many different things will have to be touched upon. Specifically, the next several pages will define the concept, "gothic," will briefly define "gothic" architecture, will describe/define gothic architecture as it manifested itself in England and France, and will take some time to highlight the Romanesque influences (and Islamic influences) which made possible what we now know today as "classic" gothic architecture. With these matters resolved, the paper will discuss why the gothic style would have been adopted in both England and in France (besides the obvious desire to glorify the Christian God) and the distinctions that exist between English and French gothic architecture (they are rather substantial) will be highlighted along with any similarities which might exist to link the two.

From the Paper
Gothic Architecture in England vs. Gothic Architecture in France: A Description of both, Basic Similarities, the Key Differences, Generative Influences, and (most of all) Symbolism The following paper will discuss the differences and similarities between gothic architecture in England and gothic architecture in France and argue that, while the two styles or schools can be differentiated in many ways, the one thing that they each have in common is that each one sought to impress upon the credulous, God-fearing worshipper the might of God and the might of the Church which, in its earthly form, served as God's emissary. To gain a proper appreciation of gothic symbolism, however, a

Tags:symbolism, gothic, architecture

Abstract
The paper describes the visual and psychological effects of Gothic churches/cathedrals, and discusses Gothic architecture's appeals to Christian essentialism. The paper addresses the medieval sense of order and cosmology and looks at how churches were designed to impart even forbidding loftiness. The paper focuses on the public architecture of the high and late Medieval period.

From the Paper
"Putting aside its obvious links to the Roman Catholic Church, Gothic architecture of the high and late Medieval period is striking for its appeal to human awe in a world meant to be centered on, and given a sense of order by the Gothic cathedral as first seen in 12th century France. The Abbey Church of St. Denis near Paris was the Abbot Suger's attempt to create a structural representation of the Heavenly Bethlehem, towards a linear design noted for its light and colour, quite apart from its dramatic Roman reference to the Arch of Constantine. Visitors are struck by a rose-coloured window on the structure's east wall that offers the..."

Tags:gothic, st. denis, reflection

Abstract
This paper begins with the symbolic spacial layout of Gothic architecture and relates it to medieval society in general. Also discussed is the cruciform shape of Gothic cathedrals and the symbolism of the cross. The paper also catalogues the main imagery found in Gothic churches and how it relates to the architecture, including windows and light symbolism. Finally, historical interpretations in churches are discussed such as the "New Jerusalem" and the "Garden of Paradise".

From the Paper
"Despite the romantic observations of Schlegel and Laugier, seeing a forest in the cathedral, Frankl again makes the sober comment that "as far as we know, the architect of Durham did not ask himself how he could give a vault the form of a tree-top, so that it should represent paradise: it was only after the Gothic style had logically developed within the terms of the 'law according to which it had been born' . . . that the house of God became vegetal in form." In an essay on the symbolism of Gothic architecture, it is important to point out, lest we get carried away, that technological innovations were the impetus for a good deal of what came to constitute the style as such. "

Tags:arch, buttresses, cathedral, church, clergy, medieval, theology

Abstract
The paper discusses the movement away from classical designs in the Romantic Period. The paper describes the new taste for Gothic architecture that was a response to science and technology that challenged old views and ideas of reality. The paper looks at John Vanbrugh's Blenheim Palace, Horace Walpole's magnificent Strawberry Hill residence and Hagley Park's Gothic ruin as examples of the Gothic style in the 18th century.

Outline:
Introduction
Blenheim Palace
Walpole's Strawberry Hill
Stuart's Sham Gothic Ruin

From the Paper
"Between 1750 and 1850 in Europe, a new artistic style arose and prospered in Europe, one which is now referred to as the Romantic Period. This period originated toward the end of the 18th century in Germany, where critics wished to distinguish between "modern" traits and "classical" traits, such as those found in ancient Greek and Roman art forms. At this time, many artisans and supporters of the arts in Europe, particularly in England where Romanticism in literature began, revolted against the observable regularity of classical art and moved instead toward a style that had its beginnings some four hundred years before during the Medieval Era."

Tags:Greek, Roman, Blenheim, Palace, Strawberry, Hill

Abstract
This paper evaluates the primary aspects of Gothic architecture in the relationship between humankind and the divine Godly interplay of this form through medieval Christianity. The paper discusses how the natural order of God's creation acts in accordance with humankind's desire to measure the universe within the microcosm of Gothic architecture. The paper focuses on the natural columns, rib vaults, and the idea of a sanctuary act through a building that is designed to protect religious people from the often hostile exterior world.

Tags:goth, christ, building

Abstract
This paper discusses how the Gothic style of architecture was born in Paris, France and spread throughout Europe. With standard elements of stained glass, ribbed vaults, and pointed arches, the Gothic style is easily recognizable from its origins and influence. The paper examines some key pieces of architecture such as Notre Dame, the Abbey Church of St. Denis and the Cathedral of Sens and the paper contains images and pictures as illustrations.

From the Paper
"The Abbey Church of St. Denis was renovated by the Abbot Suger of the city in 1137. It was built around a pre-existing Carolingian church which was left standing because it was said to have been consecrated by Christ himself . Added to the Carolingian church were a two towered narthex and a choir. Individual Gothic elements of the new facade were combined for the first time at St. Denis like double towers, sculpted portals, a round window, and vertical compositions in groups of three . The new Gothic choir consisted of a double ambulatory, seven radiating chapels, glass stained windows, rib vaults, and pointed arches. Influences for St. Denis came from the cathedrals of Durham (ribbed vault), Caen (skeletal frame and linear quality of walls), and Angevin (light and space) ."

Tags:cathedrals, notre, dame

Abstract
This paper examines the architectural styles prevalent in Romanesque and Gothic times. It looks at unique characteristics and features of each of these periods and compares the two. It looks at how these two architectural styles were influenced by each other. Some of the famous building and constructions of each period is mentioned and explored - French Gothic cathedral of Notre Dame and the Romanesque style Saint-Sernin Church in Toulouse.

From the Paper
"Romanesque architecture flourished in Western Europe from approximately 1050 to 1200. It was influenced by Roman building techniques, particularly the use of the rounded arch and the grave simplicity and dignity of mood of classical structures. In England, it was frequently called Norman, as it was introduced to Britain by the conquering French in 1066."

Tags:notre, dame, saint, sernin, Amiens, Toulouse

Abstract
This paper compares Gothic architecture and Renaissance architecture, showing the change that came over architecture with the shift from the more massive and decorated style of the Gothic to the cleaner classical lines of the Renaissance, a period which also borrowed from the Moslem style to make new use of the dome, as in religious buildings by Brunelleschi.

From the Paper
"Gothic architecture developed from the Romanesque style and emerged in the twelfth century. It prevailed until the Renaissance beginning in the fifteenth century. Gothic architecture was marked by size and elaborate decorations. However, Gothic architecture was first defined in terms of a change in Romanesque church architecture diagonal ribs were added to the groin-vault, as was first seen at the Abbey Church of St. Denis near Paris (Frankl 1). In part because of its origins, Gothic architecture has long been associated with France and is considered a French style, though in fact, others used it as well. Gothic architecture is probably represented for many people by Notre-Dame de Paris, a facade known from countless stories and other representations as well as for itself. "

Tags:gothic, renaissance, architecture

Abstract
This paper describes Gothic architecture of the high and late Medieval period. It particularly focuses on the style of the Abbey Church of St. Denis near Paris, discussing its linear design, light and color. The paper discusses the style of Gothic churches and how their design (such as their arches and linear patterns) is aimed at causing the viewer to look upwards towards God.

From the Paper
" One is left to imagine how such structures impressed visitors of centuries ago, many of them illiterate or otherwise uneducated, for whom at least popular Christianity and Roman Catholic Church authority were extremely important psychological bearings. The unusual, often very pale light of larger Gothic churches is much promoted by wall surfaces that can seem like transparent curtains towards a feeling of weightlessness with higher reaches of a structure featuring many smaller windows but with the observer's eye naturally drawn to what are often large panels of light afforded by stained glass windows of different kinds. Windows are often seen of the 'lancet' design that appear singly, or grouped together in rows, in some churches giving the impression of a kind of fortress lined by vertical slits, part of the upward verticality that all such churches feature. When examining Gothic church architecture one locates far more than understanding of the power or authority of Rome, in what can be a strong insight into the medieval mind, in a view of society as was thought to be logical and proper, and in other insights into just what Gothic cathedrals have meant, some of them through time and into the present, for the residents of dozens of European cities for whom the landmark cathedral has offered constant reminders of another dimension that is decidedly a-material, and yes, a sense of the principal church as the proper orientation point for human society in a manner that lingers."

Tags:lancet, Abbey, cathedral

Abstract
This paper discusses interior design during and after the Gothic revival of the late eighteenth century, noting that True Gothic architecture originally developed from the Romanesque style, emerging in the twelfth century. According to the paper, this style dominated until the beginning of the Renaissance in the fifteenth century. Gothic architecture is noted for size and elaborate decoration. However, Gothic architecture is first defined in terms of a change in Romanesque church architecture when diagonal ribs were added to the groin-vault, as is first seen at the Abbey Church of St. Denis near Paris.

From the Paper
"Gothic architecture developed in the twelfth century and was revived several times, notably with a major revival beginning in the eighteenth century and spreading throughout Europe and to America. Gothic interior design was included, though it changed over this time and was often more an evocation of the Gothic rather than an actual copy of the original style. From the mid-eighteenth century until the rise of Fascism in this century was a long era in Italian history during which certain trends cold be observed that linked the decades together. At the beginning of this era, Italy as a country did not exist. "

Tags:gothic, interior, design