Part 1 1. Dornic order and Ionic order 2. The metopes, the pedimental sculptures and the frieze 3. Flying buttresses, pointed arch and the ribbed vault.
Robert of Luzarches, Thomas de Cormont and Renaud de Cormont. 4. The Cathedral of St. John the Divine`s east end is built in the Romanesque style. The solid granite columns surround the High Altar and ambulatory, the tiled barrel-vault ceilings and the crossing under the dome are Romanesque style. 5. Recurrent cycles with central axis. The God`s golden circle, the Christ`s golden holy circle, the gold circle within a dove in it (the holy spirit), and the monstrance circle. 6. 5 bays 7. Northern Europe. Between 1470-1530 nearly mid-Renaissance. Engraving. Engravers begins to mass-produce devotional art. 8. In Bruegel`s painting, Jesus is barely visible, though he is in the center of the painting. And the virgin Mary is not accompany with Jesus, but sitting near the picture plane.
PART II 1. Alberti states that ”the whole of painting” consists of three parts: Circumscription, composition and the reception of light. Raphael conforms circumscription. It`s clear that without any veil or grid, Raphael can`t create such 3-dimensional space on wall. The reception of light and composition are based on a good circumscription. The outline of the picture blends in with the arch. We can`t tell the outlines of most of the figures because they are so subtle. The contours of figures almost formed by shadow and light, even the outlines of the sculptures, making muscles in picture flesh and real. The dark sides of the arches are unavoidably depicted with meticulous lines, and the fronts of arches are distinguished by different light intensities. And some figures are overlapping, so the contours of figures are unavoidable to separate them. But the stairs are clearly created by shadow and light. In other words, the outlines of figures and objects in this picture are nearly unseen by viewers. The school of Athens includes a large number of figures and a complex composition. The gesture of Aristos and Plato is a symbol of philosophy divergence. There are Plato and Aristotle in the center of the fresco, and philosophers to the left side of Plato, and people concerned with nature, geometry and humanity on the right side. Many of them are in energetic conversation, while others appear isolated with the crowd. The painting composes abundant history and each figure enjoys a unique story. So these figures can perfectly fit in the context of school of Athens. On the right side of the painting, we can see a self-portrait of Raphael looking thorough the picture communicating with us. According to Alberti`s theory, Raphael conforms to historia painting. As for the reception of light, the 2-dimensional surface, by using perspective and foreshortening, appears 3-dimensional, creating a spatial feeling that Plato is walking toward us. The vanishing point is between Aristotle and Plato. And Raphael creates sense of balance by putting two crowds of people symmetrically, making these figures present to us in more harmony way. The colors of the figures gathering and discussing are lighter than figures isolated. Clothes of Plato and Aristotle are lighter than others around them. The sky color is gradually deeper to create 3 dimensional visual experiences. The light of the figures near the picture plane is slightly darker than figures on the stairs.
2. The spatial experience of Parthenon differ from Amiens Cathedral because people concern more about exterior of Parthenon and more interior of Amiens Cathedral. And Parthenon`s spatial experiences are without visual spatial expansion. On the contrary, Parthenon emphasizes circumambulation. In order to visit Parthenon, tourists should enter Acropolis from West and walk along the pass way around the Parthenon toward East. On the way to the entrance of the Parthenon, tourists will see columns, frieze, metopes and at lest one of the pediments closely. Since the frieze is continuously, it`s easy to lead people walking clockwise. At the meantime, along the way, tourists can see architectures such as, older temple of Athena, sanctuary of Zeus Peleus and altar of Athena. These historical relics will impact tourists because the remains are huge and carefully carved. Furthermore, since the Parthenon is the home of goddess Athena, common people should worship outside and only priest can enter to serve the goddess. Beside, Parthenon construction is emphasized exterior. The columns and stairs follow the entasis. The whole architecture follows the golden rule. However, spatial experiences of Amiens Cathedral are from interior. Though Amiens Cathedral exterior is beautiful and elaborately built, the interior is more impressing. Visitors entering the west portal and walking toward east will experience a progressively spatial difference from nave to the choir. Walking along each bay, visitors will experience dynamic progress of the gradually expanding space. Entrance to the portal, people will only see the nave and vague east end. They will feel so narrow in crosswise but high in vertical. Then move to the first bay, visitors will see south and north aisles. Walking toward east, people will gradually see the transit. Each view from each bay is different. And at the sixth bay, people will be impressed by the transit, since it is experienced as full equivalent of the nave. With the gradually changing field of view, visitors will carry on the memory of high and constrict nave at first. Suddenly, a new field of transit space showed up to visitors. No wonder Stephen Murray states the changing of the view creating confusion.
3. Svetlana Alpers suggests that Bruegle`s works offer people a favorable image of peasant life, and should combine ethnography, iconography and artistic mode together when viewing Bruegle`s paintings. Alpers also claims that Bruegel`s precise depiction of the peasants is a result of Brugel`s interests in peasants` customs and costumes. She suggests that by focusing on the essential nature, people can understand Brugel`s work as comic. She also rejects moralistic interpretations and states comic impulses will be more suitable origin of the emergence of such secular paintings. Besides, Alpers states Bruegle`s works indicate artist`s sympathy on the low-class. However, Kaith Moxey lists controversy ideas to reject Alpers views. First, Moxey cites Bakhtin`s idea arguing that Alpers`s analysis is free from social connotation. And then Moxey uses Miedema`s argument that Alpers placed her own response to paintings as aesthetic objects other than considered the age that the objects was painted. And Moxey agree with Raupp`s idea that Alpers`s interpretation ignores the social significance of Bruegel`s painting, instead she bases on 20 century taste and analysis painting`s aesthetic value. Overall, Alpers suggests that if interpret Bruegel`s works on basis of class rather than personal values, a network of social communications in Bruegel`s age should be considered. And Bruegel`s works social meaning as a synchronic process, and the interpretations should be diachronic ones.
4. In tribute to his rival`s Sistine chapel painting, Raphael painted Michelangelo as a Greek philosopher in gloomy gesture isolated from either group. I think Raphael`s portrait of Michelangelo accords Vasari`s depiction. Michelangelo rests his head on his hand in dark light compared with his surroundings. The shadow on him creates sense of loneliness. As Vasari`s depiction Michelangelo is arrogance, grumpy and short-tempered. So, it`s easy to imagine others are unwilling to talk with him. Meanwhile, Michelangelo enjoys this solitary, since he doesn`t like to evolve in social bond with anyone and enjoy the loneliness. Even, he works at night. So the gesture of Michelangelo in painting is resting, because it`s daytime. And by analyzing his facial expression, he enjoys resting alone. Actually, I don`t think Michelangelo should worry about his physical appearance, since the portrait from Raphael looks quite good. But according to Vasari, Michelangelo is not so confident with his appearance. I think that`s why Raphael portrait Michelangelo lowing his head. As Vasari states, although Michelangelo is rich, he lived like a poor man. Michelangelo wears dark red worn blouse and leather boots. These attires seem old-fashion compared with other figures` silky gown, and reflect his frugal personality.