Architecture is not just a form of shelter. Through the years, it can be seen as a book narrating the nations, cultures and societal changes that occur around it. It can also be seen as an author, affecting and sometimes creating cultural changes of its own accord.
To attain a better understanding of the semantics of Gothic in the eighteenth-century, it might be worth looking at the interpretation of Gothic in the mirror of the aesthetic system of Classicism since I intend to have an overview of the aesthetic changes that were brought about in discourses pertaining to the notions of Nature, Beauty, and Gothic in the eighteenth-century.
Stained glass is arguably one of the most important aspects of Gothic cathedrals. As its popularity rose, mainly during the mid-twelfth-century, the increased presence of stained glass presented major changes to the way the general populace was learning about religion. The windows became illuminated visual sermons of biblical stories, which may have had an even greater impact than the spoken word of the priest. In this article, I will be primarily focusing on the stained glass windows and architectural styles employed in gothic buildings in France, each having their own unique and notable attributes pertaining to the development of stained glass windows. By looking at the architectural advancements shown in these structures built during the gothic time frame, we are able to see the impact that the widespread desire for increased height and light within these types of buildings had on the gothic cathedral.
This article brings together examples of new and developing approaches. As a whole, this article is particularly concerned with the definition, redefinition and reinterpretation of Georgian interiors that has taken place at various historical moments. The article focuses not only on the eighteenth-century but also on the specific formulation of Georgian style in more recent history. The interpretation and meaning attached to Georgian design are as much a modern and current preoccupation as it is a matter of investigating the priorities and values ascribed by eighteenth-century figures to the interiors and aesthetic codes of their age. The concerns of the twentieth-century have had a lasting impact on our assumptions about the 1700s.
The characteristic of architecture we now call Gothic first emerged in northern France in around 1140. It evolved during the construction of magnificent churches in the Paris region in a move towards greater height, light and volume. Later it was also used for secular buildings such as castles, palaces, bridges, city walls and gates. Key features include the pointed arch, the rib vault, buttresses (especially arched flying buttresses) and window tracery. Over time and across Europe, Gothic developed into a family of related habits.