2. Styles used
ï§ Roman
ï§ Romanesque
ï§ Gothic
ï§ Beaux arts
ï§ Rococo
ï§ Neo classicism
ï§ Baroque
ï§ renaissance
3. Roman
ï§ The architecture of Ancient Rome at first adopted the
external Greek architecture and by the late Republic, the
architectural style developed its own highly distinctive style
by introducing the previously little-used arches, vaults
anddomes. A crucial factor in this development, coined
the Roman Architectural Revolution, was the invention
of concrete. Social elements such as wealth and high
population densities in cities forced the ancient Romans to
discover new (architectural) solutions of their own. The use
of vaults and arches together with a sound knowledge of
building materials, for example, enabled them to achieve
unprecedented successes in the construction of imposing
structures for public use.
8. Romanesque
ï§
Architecture of a Romanesque style developed simultaneously in parts
of France in the 10th century and prior to the later influence of
the Abbey of Cluny. The style, sometimes called "First Romanesque" or
"Lombard Romanesque", is characterised by thick walls, lack of
sculpture and the presence of rhythmic ornamental arches known as a
Lombard band. This structure has necessitated the use of very thick
walls, and massive piers from which the domes spring. There are
radiating chapels around the apse, which is a typically French feature
and was to evolve into the chevette. Notre-Dame
in Domfront, Normandy is a cruciform church with a short apsidal east
end. The nave has lost its aisle, and has probably some of its length. The
crossing has a tower that rises in two differentiated stages and is
surmounted by a pyramidical spire of a type seen widely in France and
Germany and also on Norman towers in England. The Abbey of
Fongombault in France shows the influence of the Abbey of Cluny.
The cruciform plan is clearly visible. There is a chevette of chapels
surrounding the chance apse. The crossing is surmounted by a tower.
The transepts end with gables.
12. Gothic architecture
ï§ French Gothic architecture is a style of architecture
prevalent in France from 1140 until about 1500, which
largely divided into two styles, Early Gothic and Late Gothic
style. The Early Gothic style began in 1140 and was created
by penguin the pointed arch and transition from
late Romanesque architecture. To heighten the
wall, builders divided it into four tiers: arches
, gallery, triforium, and clerestorey.
ï§ The Late Gothic style of the 13th century canonized
proportions and shapes from early Gothic and developed
them further to achieve light, yet tall and majestic
structures. The wall structure was modified from four to
only three tiers: arcade, triforium, and clerestorey.
17. Beaux Arts
ï§ Another Parisian style, Beaux-Arts originated from
the legendary Ăcole des Beaux Arts (School of Fine
Arts). Flourishing during the 19th and early 20th
centuries. Symmetrical façades were ornamented
with lavish details such as
swags, medallions, flowers, and shields. These
massive, imposing homes were almost always
constructed of stone and were reserved for only the
very wealthy. However a more 'humble' home might
show Beaux Arts influences if it has
stone balconies and masonry ornaments. Many
American architects studied at the Ăcole des Beaux
Arts, and the style strongly influenced United States
architecture from about 1880 to 1920.
24. Neoclassicism
ï§
ï§
The first phase of neoclassicism in France is expressed in the "Louis XVI style" of architects
like Ange-Jacques Gabriel (Petit Trianon, 1762â68); the second phase, in the styles
called Directoire and "Empire", might be characterized by Jean Chalgrinâs severe astylar Arc de
Triomphe (designed in 1806). In England the two phases might be characterized first by the
structures of Robert Adam, the second by those of Sir John Soane. The interior style in France was
initially a Parisian style, the "Goût grec" ("Greek style") not a court style. Only when the young
king acceded to the throne in 1771 did Marie Antoinette, his fashion-loving Queen, bring the "Louis
XVI" style to court.
From about 1800 a fresh influx of Greek architectural examples, seen through the medium of
etchings and engravings, gave a new impetus to neoclassicism that is called the Greek Revival.
Neoclassicism continued to be a major force in academic art through the 19th century and
beyondâ a constant antithesis to Romanticism or Gothic revivalsâ although from the late 19th
century on it had often been considered anti-modern, or even reactionary, in influential critical
circles. By the mid-19th century, several European cities - notably St Petersburg, Athens, Berlin
and Munich- were transformed into veritable museums of Neoclassical architecture. By
comparison, the Greek revival in France was never popular with either the State or the public.
What little there is started with Charles de Wailly's crypt in the church of St Leu-St Gilles (1773â
80), and Claude Nicolas Ledoux's Barriere des Bonshommes (1785-9). First-hand evidence of Greek
architecture was of very little importance to the French, due to the influence of Marc-Antoine
Laugier's doctrines that sought to discern the principles of the Greeks instead of their mere
practices. It would take until Laboustre's Neo-Grec of the second Empire for the Greek revival to
flower briefly in France.
25. Kazan Cathedral, St. Petersburg
ï§ Kazan Cathedral or Kazanskiy Kafedralniy
Sobor (Russian:
ĐœŃĐșĐžĐč
Đ»ŃĐœŃĐč
Ń), also known as the Cathedral of Our
Lady of Kazan, is a cathedral of the Russian
Orthodox Church on the Nevsky
Prospekt in St. Petersburg. It is dedicated
to Our Lady of Kazan, probably the most
venerated icon in Russia.
32. Renaissance
ï§
ï§
During the early years of the 16th century the French were involved in wars in
northern Italy, bringing back to France not just the Renaissance art treasures as
their war booty, but also stylistic ideas. In the Loire Valley a wave of building was
carried and many Renaissance chateaux appeared at this time, the earliest
example being the ChĂąteau d'Amboise (c. 1495) in which Leonardo da Vinci spent
his last years. The style became dominant under Francis I (See ChĂąteaux of the
Loire Valley).
The style progressively developed into a French Mannerism known as the Henry
II style under architects such asSebastiano Serlio, who was engaged after 1540 in
work at the ChĂąteau de Fontainebleau. At Fontainebleau Italian artists such
as Rosso Fiorentino, Francesco Primaticcio, and Niccolo dell' Abbate formed the
First School of Fontainebleau. Architects such as Philibert Delorme, Androuet du
Cerceau, Giacomo Vignola, and Pierre Lescot, were inspired by the new ideas.
The southwest interior facade of the Cour Carree of the Louvre in Paris was
designed by Lescot and covered with exterior carvings by Jean Goujon.
Architecture continued to thrive in the reigns of Henry II and Henry III.