"off a parking lot to the northwest of the cathedral for the SP!RE condominium development. St. James Cathedral's Gothic Revival architecture is reflected throughout the structure. Every part of a Gothic cathedral is directly related to a ""core dimension"" which is used as an effort to achieve harmony and organic unity within the building where everything is linked rationally and proportionally, creating a coherent whole. Every element in the cathedral—including the stained glass windows, the pointed arches, high ceilings, the pinnacles, even the flying buttresses—allow as much light as possible to flood the interior. The Gothic style means an aesthetically"
"rain water off the roof; it was expelled from the mouths of stone gargoyles placed in rows on the buttresses. In the late Gothic periods the buttresses became extremely ornate, with a large amount of non-functional decoration in the form of pinnacles, curving arches, counter-curves, statuary and ornamental pendants. An important characteristic of Gothic church architecture is its height, both absolute and in proportion to its width, the verticality suggesting an aspiration to Heaven. The increasing height of cathedrals over the Gothic period was accompanied by an increasing proportion of the wall devoted to windows, until, by the late Gothic,"
"problem, with evidence for this being its use as a stylistic feature in Romanesque French and English churches. Gothic architecture Gothic architecture is a style that flourished in Europe during the High and Late Middle Ages. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France, it was widely used, especially for cathedrals and churches, until the 16th century. Its most prominent features included the use of the rib vault and the flying buttress, which allowed the weight of the roof to be counterbalanced by buttresses outside the building, giving greater height and more space"
"On the façade are three staggered gables, with one central gable extending above the peak height of the roofline. These gables are a feature of brick architecture during this period. Adorning each gable are miniature spires, evocative of high gothic architecture popularized on cathedral exteriors. Each gable contains one large central circular window with two smaller ones below it, all with highly decorative tracery. These central circular windows are reminiscent of the grandiose rose windows that appear on the west façade of many gothic cathedrals. “The most remarkable feature is the gable end richly decorated with octagon buttresses, having stories"
"Gothic architecture Gothic architecture is a style that flourished in Europe during the High and Late Middle Ages. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th-century France, it was widely used, especially for cathedrals and churches, until the 16th century. Its most prominent features included the use of the rib vault and the flying buttress, which allowed the weight of the roof to be counterbalanced by buttresses outside the building, giving greater height and more space for windows. Another important feature was the extensive use of stained glass, and the rose window, to bring"
"and closely grained. The roofs are high pitched, the walls of the nave being surmounted by a cornice ornamented with carved gothic patterns, that on each side of the chancel consisting of an open parapet similar to that which runs along the summit of the tower. The windows of the clerestory are of two lights, the great east window of five, whilst the others are of different widths, some of two and the rest of three lights, each being filled with geometrical tracery, of a character strictly harmonising with the style of the building The tower is square, the upper"
"is engaged with the wall from top to bottom; thus, the flying buttress is a lighter and more cost-effective architectural structure. By relieving the load-bearing walls of excess weight and thickness, in the way of a smaller area of contact, using flying buttresses enables installing windows in a greater wall surface area. This feature and a desire to let in more light, led to flying buttresses becoming one of the defining factors of medieval Gothic architecture and a feature used extensively in the design of churches from then and onwards. In the design of Gothic churches, two arched flyers were"
"itself. While many contemporary churches of this period are often described as being of Gothic architecture, a more accurate description would be that of ‘Gothic-Revival’ architecture, as this was essentially a style that became popular in the late eighteen and nineteen centuries. Gothic is a style that incorporated pointed arches over doors and windows, flying buttresses, and spires. And the features can be clearly seen to the exterior of this Church include such pointed arches over doors and windows, and it has buttressed walls, which incorporate pinnacles to their top. The reference to the Tudor styling refers to chiefly the"
"were among the first to use the flying buttress; the buttresses were strengthened by an additional arch and with a supporting arcade, allowing even higher and walls and more windows. At Reims, the buttresses were given greater weight and strength by the addition of heavy stone pinnacles on top. These were often decorated with statues of angels, and became an important decorative element of the High Gothic style. Another practical and decorative element, the gargoyle, appeared; it was an ornamental rain spout which channeled the water from the roof away from the building. At Amiens, the windows of the nave"
"roof, with ventilation to its ridges. Its detailing, in keeping with the tall spire, is derived from the Gothic style. Its windows and door openings have pointed heads. Detailing to the spire includes: recessed pointed head arches, accented by tracery; voussoirs, alternately projecting; and elaborate moulding. A lighter coloured brick articulates the pointed heads of the church's other window and door openings. Internally the church still contains most of its original fittings and furnishings including timber bench pews and decorative timber entrance screen. An original gallery overlooks the main floor of the church at the western end of the building"
"of the museum's collection, and remains its primary exhibit. The museum also has artifacts of local interest that appear in the context of significant national events. The church building is basically rectangular in shape, and measures . It was designed in a combination of the Gothic Revival and Romanesque Revival styles. The Gothic is found in the polychrome finish of the brick and stone, the pointed arch windows and doors, the wall buttresses, the battlements on top the corner tower, and the steeply pitched roof with steep cross gables. The Romanesque is found in the short bell tower, the broad"
"to four ribs, simpler and stronger. The flying buttresses at Amiens and Chartes were strengthened by with an additional arch and with a supporting arcade, allowing even higher and walls and more windows. At Reims, the buttresses were given greater weight and strength by the addition of heavy stone pinacles on top. These were often decorated with statues of angels, and became an important decorative element of the High Gothic style. Another practical and decorative element, the gargoyle, appeared; it was an ornamental rain spout which channeled the water from the roof away from the building. At Amiens, the windows"
"a mixture of Arts and Crafts and Gothic Revival. The plan consists of a nave with north and south passage (narrow) aisles, a north transept, a short chancel, and a southwest tower. The hall is at right angles to the church. The tower has angle buttresses, and pairs of louvred bell openings. At the top is a cornice carved with foliage and beasts, and a panelled and embattled parapet. The tower is high. At the (liturgical) west end are three lancet windows with a five-light window above containing Perpendicular tracery. Flanking the windows are bays, each containing a gabled porch"
"Romanesque style. Saint Augustine of Hippo taught that light was an expression of God. Architectural techniques were adapted and developed to build churches that reflected this teaching. Colorful glass windows enhanced the spirit of lightness. As color was much rarer at medieval times than today, it can be assumed that these virtuoso works of art had an awe-inspiring impact on the common man from the street. High-rising intricate ribbed, and later fan vaultings demonstrated movement toward heaven. Veneration of God was also expressed by the relatively large size of these buildings. A gothic cathedral therefore not only invited the visitors"
"decoration apart from some capital sculpture and a statue of the Virgin Mary. The main façade of the Monastery has two plain-style wings with the church in the middle. The façade of the church is a mix of styles: the portal and the rose window above were part of the original church, while the statues and the two flanking towers were added in the beginning of the 18th century. The side walls of the church have crenellations and the apse has eight flying buttresses to support the weight of the vault of the apse, a typical feature of Gothic architecture."
"tall dormers on four of its faces and four pinnacles at the corners of its base. The top of the spire has a wrought iron finial. The roof on the nave also has small dormer ventilators. A side entry is to the right of the base of the tower and has a broad Gothic arch with a steeply pitched parapet topped by a Christian cross. The end of each transept has a rose window in the gable end above a pair of Gothic arched windows that in turn are above groups of smaller openings. Internally, the nave floor slopes down"
"The High 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. Piers coronations were smaller to avoid stopping the visual upward thrust. The clerestorey windows changed from one window in each segment, holed in the wall, to two windows united by a small rose window. The rib vault changed from six to four ribs. The flying buttresses matureed, and after they were embraced at Notre-Dame de Paris and Notre-Dame"
"were level with the gallery floors. The aisles had flat ceilings, while the nave had a shallow cross-vault. The north and south walls had large round-arched windows of clear glass, which allowed for a brightly lit interior. The east end had trinity windows, a large wooden altar screen and a carved hexagonal pulpit, reached by stairs. There was elaborate carved wainscoting. A pavement of reddish brown and grey marble to the west of the altar rails was said to date from the original gothic church. Galleries stood over the north and south aisles, built at special request of the officers"
"did the pillars and the church steeple. The amibition to test out the limits of the architectural possibilities resulted in the collapse of several towers. In Germany and the Netherlands, but also in Spain, it became popular to build hall churches, in which every vault has the same height. Cathedrals were built in a very lavish way, as in the romanesque era. Examples for that are the Notre-Dame de Paris and the Notre-Dame de Reims in France, but also the San Francesco d’Assisi in Palermo, the Salisbury Cathedral and the Wool Church in Lavenham, England. Many gothic churches contain features"
"the better it represents god. This was accomplished through clever math and engineering. In a time period where complex shapes, especially in huge cathedrals, were not typically found in structures. Through this newly implemented skill of being able to design complex shapes churches consisted of namely pointed arches, curved lights and windows, and rib vaults. Since these newly popular designs were implemented with respect to the width of the church rather than height, width was much more desired rather than height. Gothic architecture in churches had a heavy emphasis on art. Just like the structure of the building, there was"
"building is a symmetrically laid out and simply detailed example of mid Victorian ""Ecclesiastical Gothic"" church architecture. In formal terms the church comprises a simple rectangular nave with wide, steeply sloping slate roof terminating at the west end at a central, square tower originally (but no longer) surmounted by a thin metal clad steeple. At the east end is a lower gable-roofed vestry. Tied buttresses along the north and south walls and gothic arched heads to the main entrance porch, other external doors and the traceried windows generally conform to the details typical of the period, style and building type."
"buff-coloured brick and cream-coloured stone. The roof over the nave and chancel is shallow with deep eaves and is laid with pantiles. A ""fine blocky Gothic tower"", elevated above the road and with a staircase in front, dominates the façade; it has a series of parabolic arches forming recesses. These have Perpendicular Gothic mouldings. The church has a simple north–south plan like its predecessor (the Gilbert Scotts changed to this layout after an earlier, more complex plan was considered too expensive). Recessed into the tower are three straight-headed wooden double doors with triple windows above them and a tall, pointed-arched"
"west spire. It is in the Early English Gothic style with Decorated details. The church is built on projecting plinths and has a nave and four-bay aisles with separate roofs which terminate short of the nave at the west. The bays, are separated by buttresses and each has a pair of two-light windows above a continuous sill band. The two-bay chancel is higher than the nave and has a five-light east window. The four-stage west tower has angled buttresses and a west door above which is a four-light west window. The belfry has paired two-light openings under a broach spire"
"south wall between the buttresses. Each section consists of a tall Gothic ogival (pointed) arch with a small rose window at the top, and below that a lancet window. The spaces between the buttresses of the nave also show the same ogival arch, in which is set a tall, narrow triple-lancet window. There is hardly any decoration, which is considered to have been a conscious choice aimed at differentiating this church from the highly elaborate Gothic of northern France. The nave also served as a model in the development of Southern French Gothic architecture in presenting a very unified space."
"seen is spoiled by the protruding fire escape exit. The eastern façade, while not as impressive as the western façade, is, arguably, the most varied. A second school building occupies a site on the west side of Bond Street. Typical characteristics structures of Gothic Architecture include pointed arches called ‘ogivals’, flying buttresses, transverse arms, clerestory windows, pinnacles, and ribbed vaults, many of which are displayed in St. Michaels Cathedral. St. Michael's is a good example of a basilica, a large, rectilinear space with a longitudinal axis. The church runs along an east-west axis, with an extruded portion running north-south, but"
"gable. On the north tower the top half-story is faced on all sides with a clock while a sexfoil window occupies that position to the south. From a castellated base rise the spires, pierced by small narrow gabled dormers just above the base. Rows of vertical crocketing decorate the section lines. Four more buttresses rise two stories to the roof along the sides of the nave, setting apart Gothic tracery windows. These buttresses, too, are topped with crocketed pinnacles at the castellated roofline. The circular chancel offsets the rectilinearity of the rest of the church. The main doors open into"
"Gothic style architecture, particularly the steeply pitched roof, prominent gables, elaborately traceried bargeboards, label moulds and textured masonry walling. The residence like the station building is also constructed of coursed, random stone and has an asymmetrical façade. The slate roof is steeply pitched with two round stone chimneys (in group of two) with corbelled tops and prominent gables. One gable has a cross shaped vent and another has a date plaque. A veranda over the entrance has an iron roof and is supported on timber posts with decorative brackets and stone floor. Windows, which are boarded, feature smooth dressed reveals"
"design is described as typical of the Late Gothic Revival style, which is more subdued than the earlier High Victorian Gothic style. The rock face of the limestone structure contributes to an overall impression of monochromaticity. The plan of the building has characteristics of English Gothic churches, including an emphasis on length, a moderately pitched roof, and a tower at the crossing. Two octagon shaped towers flank the main façade. The main entry projects from the front of the building. Its double doors are flanked by buttresses and topped by a parapet gable. A triple lancet window is above the"
"exterior the simple facades retain most of the elements of late Gothic architecture. The west facade is the most impressive, dominated by a triangular pediment equipped with three very tall gothic windows. After the demolition of medieval buildings located in the space between the church and the Clock Tower, on the southern side were built three vertical columns, which end at the top with three arches supporting masonry church. Inside the church architectural elements and artistic furniture typical of the early Baroque era are prevailing. Elements such as pillars and arches, the altar, pews, canopy, painted organ and balconies and"
"characteristic of Gothic architecture. The church has a height of 7.3 metres and a width of 5.2 metres. The interior of the church consists of four pointed arches typical of medieval churches. The arch closest to the altar has the remains of a Rood screen. The church has one altar and includes a painting of the Annunciation above it. It was painted by Renè Sacco in 2003. The church also has a number of tombs. Also beside the church a number of graves were discovered. Archaeologists from the University of Malta and of Oxford discovered a number of medieval coins"
"styles of Gothic architecture, which is clearly seen in the spire of the bell tower, as well as the finials that occur on all the original façades and tower. The ornamentation is simple but delicate, and is derived from the shape of the cross, with the finials, tower windows and exterior walls' ornament all derived from it. This motif continues inside. The interior of the sanctuary is simple and elegant, with dark wooden trusses springing gracefully from cross-shaped brackets on the walls between round clerestory windows. At the apex of the roof, a further clerestory window admits more daylight. Originally"
"churches like those in Zhivovtsi (1858), Mitrovtsi (1871), Targovishte (1870–1872), Gavril Genovo (1873), Gorna Kovachitsa (1885) and Bistrilitsa (1887–1890) display more prominent vernacular Gothic Revival features. The Gothic style dictated the use of structural members in compression, leading to tall, buttressed buildings with interior columns of load-bearing masonry and tall, narrow windows. But, by the start of the 20th century, technological developments such as the steel frame, the incandescent light bulb and the elevator made this approach obsolete. Steel framing supplanted the non-ornamental functions of rib vaults and flying buttresses, providing wider open interiors with fewer columns interrupting the view."
"most beautiful church in the world"" The Upper Church has a façade of white-washed brick divided into two horizontal zones of about equal height, and with a simple gable of height equal to the lower zones. There is a single large doorway in the Gothic style, divided by a column and with a rose window set in the tympanun above the two cusped arches. Above the door, in the second zone is a large and ornate rose window in which most of the decorative details are Romanesque in style. Surrounding it are carved the symbols of the Four Evangelists, combining"