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Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look less impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The modern stained glass windows were put in place after the ravages of World War II. Somehow their symbolic, leafy motifs, or the more abstract ones as shown here, based on entrelacs, manage to capture, in my opinion, the essence of the Romanesque. They let the “light of the Romanesque” flow in...
Walt Disney Music Hall. Los Angeles, California. Captured Feb. 4, 2013. Captured with Canon EOS 5DIII, Canon EF24-105mm f4L IS USM at 67mm, f 11 @ 1/80, ISO 100. Handheld. Post Processing with CS5, NikSoftware ColorEfexPro 4.0 (Image Borders) and SilverEfexPro 2.0.
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My previous work has won a Merit Award in Black and White Magazine 2013 Portfolio Contest. 2 page spread, page 88/89 August 2013 Portfolio Special Edition #98.
Single Image Award in Black and White Magazine 2014 Single Image Contest. Pages 92 & 221 Feb. 2014 Single Image Special Edition #101. Once again I am very pleased to announce that for the third time in a little over a year I am again in Black & White Magazine. The internationally known magazine has honored me with a Portfolio Excellence Award and has featured 7 images in a 4-page spread in the 2014 August issue #104. The spread is on pages 28, 29, 30 and 31. I have also been honored with many other international awards.
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© Copyright notice:
© James A. Crawford, All Rights Reserved
All photographs within my flickr account are protected under copyright laws. No photograph shall be copied, reproduced, republished, downloaded, displayed, modified, transmitted, licensed, transferred, sold or distributed or used in any way by any means, without prior written permission from me. This pertains to all my images.
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ABOUT THIS IMAGE
Three’s
I took a road trip to Los Angeles to photograph the Walt Disney Concert Hall. It was my first visit. I spent about an hour or so photographing this awesome building and had a great time. I was kicked out of one of the ramps for using my tripod, but otherwise no problems. The morning shoot was perfect. My hope is to go back and photograph this unique building again soon.
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The waves were probably some of the biggest waves i've seen at windansea. Took a while waiting for enough water to flow over that rock creating a waterfall, but it was worth it. When is this gloom going to stop!?
Taken at the Black Country Living Museum. Some of the scenes from the TV show Peaky Blinders were shot here.
........or is it more accurately a tone-mapped image??
North Yorkshire Coast near Port Mulgrave.
Experimenting with Nik HDR Efex Pro filter plus white vignette. Scene was very blue and couldn't get it to look natural so went for something totally different.
This 2-½ story gray fieldstone house, circa 1790, is the former home of Judge Hugh M. Morris, a Delaware native, respected attorney and distinguished federal judge. Delaware's Division of Parks and Recreation acquired the property in 1998 and made it a part of White Clay Creek State Park.
I wanted to practice my HDR processing and just happened across this image from the archives last night.
Dedicated to Saint Peter, the abbey church of Champagne is not located, as one would think, in the bubbly-producing hills of northeastern France, but much further south, on the banks of River Rhône, between Lyon and Valence, in the northern part of the département of Ardèche, i.e., in the old province of Vivarais.
Stylistically, this large church, built right next to the busy and noisy thoroughfare that Highway 86 is today, is very homogeneous and was built around 1150, replacing an older, 11th century church of which two capitals have been re-used in the nave. Numerous sculpted fragments from the previous church were also gathered as demolition progressed and reinserted haphazardly in the new one. But built by whom exactly, and for what exact purpose? That is much more mysterious.
From the scant written evidence that has come to us, we can surmise that it was originally built by the Albon family of powerful local lords, probably for regular canons of one or the other obedience. In 1275, it has become a priory of the Benedictine abbey of Saint-Chef. In 1172, the canons of the chapter of the Saint Maurice Cathedral in Vienne had given a number of churches to the abbey of Saint-Chef, but the charter doesn’t specify which ones. If we are right in thinking that the Champagne church was originally owned by canons, it is possible that those canons were the ones from the Vienne chapter, and if so, the Champagne church may have been among those turned over to the abbey in 1172. The deal would have been facilitated by the fact that, from 1119, the archbishop of Vienne was also the protector of the abbey of Saint-Chef. Furthermore, it has been noted (in particular in my Zodiaque collection reference book, Vivarais et Gévaudan romans, by Robert Saint-Jean) that the Champagne church offers many similarities with the abbey church of Saint-Chef, in a more accomplished version, as the former came half a century after the latter.
The link between Saint-Chef and Champagne, however, did not last. Because of deep and enduring management problems at Saint-Chef where the monks could not elect a new abbot, the archbishop of Vienne was first appointed as abbot ad perpetuitam by a papal Bull of John XXII in 1320. A second Bull, in 1328, took away from the abbey the Saint Peter Priory, under the pretext that its income was not sufficient to support the prior and his monks. The church then became a simple parish church. However, let’s not forget that, at the time, the Rhône River was the border between the kingdom of France and the Holy Roman Empire: the archbishop of Vienne had his seat on the left bank, on the Empire side, while the Saint Peter Priory was on the right bank, on the kingdom side; the archbishop may have wanted to be able to take refuge in France in the event things went sour on the Empire side... which would explain why the priory compound was indeed fortified at the same time!
Seriously damaged during the Wars of Religion in the 1560s, the church undertook important repairs during the early 1600s: it is then the the three cupolas on squinches roofing the nave were put in place in lieu of the previous Romanesque barrel vault. The church, much too big for such a small village, continued to degrade over the decades. By 1750, the upper floors of the tower-porch that framed the western entrance were in ruin, and one century later, what was left of that tower-porch was razed to allow for the enlargement of what was then the royal road number 86. This veritable act of vandalism prompted the authorities to protect the monument in 1854 by listing it as a Historic Landmark.
A systematic restoration took place between 1888 and 1894, during which (it is a rare enough occurrence to be duly noted and lauded!) all the add-ons erected after the end of the Romanesque period were eliminated. The original church was saved. In 1968, three regular Augustinian canons from a Swiss convent came and settled in Champagne, reviving the Saint Victor offshoot of the Augustinians which had been dead since the French Revolution. They proved extremely successful and in 1976, Pope Paul VI elevated the priory to abbey status. Today, the church is both canonical and parochial.
However, the very exceptional characteristic of this abbey is that, because the original monastery buildings had been destroyed after the French Revolution and replaced by ordinary village houses, the Augustinians had to build anew where there was space available, i.e., a couple hundred meters away from the church...! Thus, there is no proper enclosure, the canons live in the middle of the village, and walk across it to go attend to their duties. This is much too in sæculum for my taste, and not a proper way to practice the life of a so-called “regular” canon. I understand the appeal that the church may have had, but my opinion is that, owing to the present-day configuration of the village, it should have been deemed unsuitable. Likewise, the liturgy of this congregation does not truly meet with my approval, the same way “reality TV” doesn’t: a floor-heated church, cleverly designed lighting everywhere, a discreet and elaborate sound system... quite a bit too Hollywoodian for me. But obviously, just like reality TV, it does have its appeal.
One of the lovely capitals in the upper chapel in the southern arm of the transept.
Happy Easter everyone!
This 2-½ story gray fieldstone house, circa 1790, is the former home of Judge Hugh M. Morris, a Delaware native, respected attorney and distinguished federal judge. Delaware's Division of Parks and Recreation acquired the property in 1998 and made it a part of White Clay Creek State Park.
This 2-½ story gray fieldstone house, circa 1790, is the former home of Judge Hugh M. Morris, a Delaware native, respected attorney and distinguished federal judge. Delaware's Division of Parks and Recreation acquired the property in 1998 and made it a part of White Clay Creek State Park.
© 2016 Corey Bourassa, all rights reserved. No reproduction without prior consent. For more information visit www.coreybourassa.com
This image is protected by copyright, no use of this image shall be granted without the written permission from Peter Carroll.
The Peter Carroll Photography website: www.PeterCarroll.ca
Thanks for looking and taking the time to post comments
Poplar trees in my garden.
Shot taken in June 2020 with my D850 and the Zeiss Distagon 15mm lens, while my Z7 was being repaired (the leatherette covering had come unglued in one place).
The Red-winged Blackbird (Agelaius phoeniceus) is a passerine bird of the family Icteridae found in most of North and much of Central America. It breeds from Alaska and Newfoundland south to Florida, the Gulf of Mexico, Mexico, and Guatemala, with isolated populations in western El Salvador, northwestern Honduras, and northwestern Costa Rica. It may winter as far north as Pennsylvania and British Columbia, but northern populations are generally migratory, moving south to Mexico and the southern United States. Claims have been made that it is the most abundant and most well studied bird in North America.[2] The Red-winged Blackbird is sexually dimorphic; the male is all black with a red shoulder and yellow wing bar, while the female is a nondescript dark brown. Seeds and insects make up the bulk of the Red-winged Blackbird's diet.
I LOVE wooden piers. They are just so incredibly photogenic. I've been trying to challenge myself recently to come up with new photos/compositions at places that I have been before. It's been a good exercise in looking with a fresh perspective, learning to see more etc.
I hope you like it.
The Robert F. Kennedy (RFK) Bridge, formerly known as the Triborough Bridge (sometimes spelled Triboro Bridge), is a complex of three separate bridges in New York City, United States. Spanning the Harlem River, the Bronx Kill, and the Hell Gate (part of the East River), the bridges connect the boroughs of Manhattan, Queens, and The Bronx via Randall's Island and Wards Island, which are joined by landfill.
Hasselblad 503CX
Kodak T-max 100
Developed at home
Scanned
Thanks a lot to JoesSistah flic.kr/p/atYyGT
Lenabem-Anna flic.kr/p/9qo7fB
and Kim Klassen www.flickr.com/photos/kimklassen/sets/72157623073938253/
for your wonderful textures and the generous sharing of them!
NYC Skyline at Sunset
#NYC #NYCSkyline #Sunset #NewYorkCity #NewYork #PhotoshopCC #NikSoftware #NikColorEfexPro #CEP #LongExposure #LightroomCC
Please listen to Stan Ridgeway "Walkin' home alone" while watching this (open in new window): www.youtube.com/watch?v=eTRXVIUrXQE
On explore: www.flickr.com/photos/nordnorskfoto/10909195124/in/explor...
As autumn starts to bring cooler days this butterfly landed on a dahlia to warm in the sunlight. Taken at the Manito Park Dahlia Garden in Spokane, Washington.
Sand Dunes. Pismo Dunes Natural Preserve, Oceano. San Luis Obispo, San Luis Obispo County, California. Captured Sep 29, 2013. Captured with Canon EOS 5DIII, Canon EF24-105mm f4L IS USM at 105mm, f11 (HDR 7 images ), ISO 100. Tripod. Post Processing with CS5, NikSoftware ColorEfexPro 3.0 (Tonal Contrast), ColorEfexPro 4.0 (Image Borders), SilverEfexPro 2.0, Viveza 2.0 and PhotoMatixPro 5.0.4
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THANK YOU for looking at my image and making a comment. I appreciate your support and feedback. If you fav. I would also appreciate a comment before you FAV.
www.tumblr.com/blog/crawfphoto
fineartamerica.com/profiles/3-james-crawford.html?tab=art...
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My previous work has won a Merit Award in Black and White Magazine 2013 Portfolio Contest, Single Image Award in Black and White Magazine 2014 and Excellence Award in Black and White Magazine 2014 Portfolio Contest. I have also been honored with other local, national and international awards.
***************************************************************************************************************
© Copyright notice:
© James A. Crawford, All Rights Reserved
All photographs within my flickr account are protected under copyright laws. No photograph shall be copied, reproduced, republished, downloaded, displayed, modified, transmitted, licensed, transferred, sold or distributed or used in any way by any means, without prior written permission from me. This pertains to all my images.
****************************************************************************************************************
ABOUT THIS IMAGE
The Wind Cannot Shift You
The wind may blow the clouds and change the sands. The rain may wash away some of the sand, but the grass is rooted and will remain. Stand the course my friends and be strong. Follow your convictions, be kind and positive to your fellow man and beasts and good things will come your way.
Sand Dunes. Pismo Dunes Natural Preserve, Oceano, San Luis Obispo County, California. Captured with Canon EOS 5DIII, Canon EF24-105mm f4L IS USM at 105mm. Photomontage, although the original image was captured in 2013 the cloud was captured in 2014 and the image was post processed in 2014. This image is another in my “Cloud” series.
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Technical info:
ND110 - 10 stops.
f/22
ISO100
10 mm
131s (2min11s) exposure
Software:
Lightroom 3.0
PS CS5 - Silver Efex Pro
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© 2010 Kees Smans
© 2016 Corey Bourassa, all rights reserved. No reproduction without prior consent. For more information visit www.coreybourassa.com