By Nikolaus Pevsner
The most extensively learn boks on ecu structure, Nikolaus Pevsner's landmark paintings used to be first released in 1942. via a number of revisions and updates in the course of Pevsner's lifetime, it persisted to be a seminal essay at the topic, or even after his loss of life, it is still as stimulating because it was once again within the mid-twentieth century. Sir Nikolaus Pevsner (1902-1983) was once one of many 20th century's such a lot discovered and stimulating writers on paintings and structure. He demonstrated his recognition with Pioneers of contemporary layout, notwithstanding he's most likely top recognized for his celebrated sequence of courses, The structures of britain, stated as one of many nice achievements of twentieth-century scholarship. He used to be additionally founding editor of The Pelican background of artwork, the main finished and scholarly background of paintings ever released in English. A revised and up-to-date full-color version of the vintage learn of the historical past of eu structure
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Extra info for An Outline of European Architecture
But the discovery how by meallS of ribs stone vaults can be reduced to a few strong supporting lines holding eacll otllcr ill position, with light thin panels of masonry between, belongs to tIle Gothic style. Flying buttresses were invented to transfer tIle vertical thrust from the vault on to the more distant buttresses of tIle aisles instead ofleaving it to press downwards vertically 011 the clcrcstory walls and the arcades of the nave beneath. As such t11cy llad already been used, though hidden by aisle roofs at Durhanl, in tIle Auvcrgllc and elsewhere.
But two hundred years had to elapse after the time of Suger to make such intimacy possible. then: 1 See College Art Journal, vol. 6, 1947, p. 236. 33 THE EARLY ANI? CLASSIC GOTIIIC STYLE c. 2.. PAIR. AL OF CAMBllAI. 3S . One of the earliest cases in which we can forlll a. live imprcssioll of the personality of one of the great master-masons of the early Gothic style is that of William of Sens, architect to the choir of Canterbury Cathedral-a work as revolutionary in England as St. Denis was in France.
It was a very gradual development. Suger in his book does not say one word about the architect of St. Denis, nor in fact about the designer of the church as such. It~eems curious; surely he must have known very well what a daring work he had put up. To explain his silence one must remember the oftenquoted and often-misunderstood anonymity of the Middle Ages. It does not mean of course that cathedrals grew like trees. They were all designed by someone. But in the earlier medireval centuries the names of these men, immortal as their work seemed, did not count.
An Outline of European Architecture by Nikolaus Pevsner