Baroque

I was grouped with another four members. We are assigned to turn up the undermentioned country of involvement on the given base map and see them. Our docket is to detect and document the cardinal architectural characteristics such as Gatess, courtyards, doors, Windowss, walls, roofs, stuffs, structural systems, etc. Furthermore, we were supposed to detect and do records of objects, people, store houses and activities on streets that entreaties to us and add character to our overall journey.

Our first finish was Buddha Tooth Relic Temple, we discovered the tremendous roofs and the cardinal characteristics of the Chinese architecture. The Buddha Tooth Relic Temple & A ; Museum is a Tang-Styled Chinese Buddhist Temple in the bosom of Chinatown. The temple characteristics many aspects of Buddhist humanistic disciplines and civilization of Singapore. It besides houses what the Buddhists respect as the Sacred Buddha Tooth Relic in a tope weighing 3.5 metric tons and composed of 320 kilogram of gold donated by fans. It besides houses other sacred relics of the Buddha, such as bone and lingua relics. The temple prides itself on the research made to guarantee truth and genuineness of the design and architecture found here. The exterior of this active Buddha Temple combined with museum appears of a Chinese pagoda that sits in the bosom of Singapore Chinatown.

This temple incorporates elements of the Chinese Tang Dynasty of facade constructions as the roof of Chinese ruddy is spilled in a modern construction. In the shadow of the scene Sun, Buddha Tooth Relic Temple and Museum depicts really Chinese presence of Buddhist Mandala. Eminent Sangha Museum characteristic life narratives of monastics in Singapore showcasing Buddhist humanistic disciplines and civilization. It immerses one deep into the Buddhism life and civilization for a better apprehension.

Visitors are to stay in dressing modestly and avoid obscene visual aspect. Repose is of import with regard to the temple and its mission where visitants who are non Buddhist, nor spiritual in any form or signifier, are able to achieve interior consolation for a minute ‘s peace from today ‘s barbarous ever-changing universe. Inscriptions are written in English and traditional Chinese. I like this temple for its beautiful alfresco garden atrium. It was deserving a visit with an unfastened head.

Our 2nd finish was Ann Siang Hill, we explored the Ann Siang Road and Club Street. We noticed the interesting architecture of the store houses which combine Asiatic and European influences. We went to Ann Siang Hill was to research the milieus and to take some good shootings of the interesting topographic points in Singapore. Apart from its quaint and delightfully quiet shops, Ann Siang besides boosts of intricate architecture and colourss. Not merely does Ann Siang Hill boast lovely and quaint books/clothing shops, it besides has old-timer store houses which house the coffeehouse and assorted retail shops. A lovely combination of the old and new bing together.

Our 3rd finish was Thian Hock Keng Temple, we were to detect and research one of the Singapore’s OLDEST Chinese temples. The traditional beam and bracket systems used for back uping the brilliant roofs and gaining control the repose of the courtyard. The significance forms play in temple architecture, and the Thian Hock Keng is a all right illustration. It has Windowss that are round to typify Eden, square to typify the Earth, and tiles which were meticulously laid out either in square forms to typify the oral cavity, connoting that one would ne’er travel hungry here, or in an upside down “V” form, typifying “ren” , the Chinese word for “men” , to propose that one can see this topographic point as a sanctuary. Characterized by orange-coloured glassless clay roof tiles, bricks and terracotta floor tiles. Finial ends of the curving roof ridge expanse outwards like ’swallow tails’ with ‘twining weed’ ornaments merely used above the overturned eaves. The generous usage of granite typifies the Hokkien manner as Quanzhou is a celebrated centre for granite sculptures and carvings. Elaborate symbolisms through pictures and carvings on assorted parts of the timber-bracketed structural system is easy distinguished from the Northern Chinese manner which is largely painted. The presence of chihu gong oblate prances suggests the likely usage of Zhangzhou craftsmen in the building of the temple. Yet, the enforcing group of winged-fairies dou gong above the chief entryway indicates the possible engagement of Quanzhou craftsmen in the carving of secondary lumber members.

Our 4th finish was Nagore Durga Shrine, a good illustration that reflects the blend of the E and the West influences of Islamic Architecture. Although this is a Moslem topographic point of worship, it is non a mosque, but a shrine, built to mark a visit to the island by a Muslim sanctum adult male of the Chulia people ( Muslim merchandisers and usurers from India ‘s Coromandel Coast ) who was going about Southeast Asia distributing the word of Indian Islam. The most interesting ocular characteristic is its frontage: Two arched Windowss flank an arched room access, with columns in between. Above these is a “ illumination castle ” — a monolithic reproduction of the frontage of a castle, with bantam cutout Windowss and a little arched room access in the center. The cutouts in white plaster make it look like lacing. From the corners of the frontage, two 14-level minarets rise, with three small domed cutouts on each degree and onion domes on top. Inside, the supplication halls and two shrines are painted and decorated in flooring tacky colourss.

Our 5th finish was the Fuk Tak Chi Temple Museum, upon come ining, two enforcing Chinese divinities greet us at the doors. They symbolize ‘the Door God’ which, harmonizing to Chinese folklore, wards off evil liquors. Sing as the Door Gods were our lone comrades on our visit, they appear to hold warded off the museum-goers as good. Mostly dwelling of one chief alfresco courtyard, a little hallway and communion table beyond that, one can walk around the interior reasonably rapidly. There is a panorama in the center of the hallway that depicts what the topographic point might hold looked like back in the twenty-four hours. And so once more, non all museums or temples come to this charming room access in its dorsum wall. Step through the sliding glass door it feels like you have stepped outside except it’s air-conditioned. Once the back back street of Fuk Tak Chi, it has now been converted into the anteroom of a hotel with a instead alfresco construct, high ceilings with glass window glasss that fill the hall with natural visible radiation.

Our 6th finish was the Al-Abrar Mosque, we explored the simple Indian manner architecture and the cardinal characteristics of the Chinese Architecture. This mosque, besides called Masjid Chulia, after the Chulias, the group of Indian usurer immigrants who funded its building, was originally erected as a thatched edifice in 1827, therefore its Tamil name Kuchu Palli, which means “ hut mosque. ” The edifice that stands today was built in the 1850s, and even though it faces Mecca, the complex conforms to the grid of the vicinity ‘s metropolis streets. It was designated a national memorial in 1974, and in the late eightiess, the mosque underwent major redevelopments that enlarged the mihrab and stripped off some of the cosmetic qualities of the columns in the edifice. The one-story supplication hall was extended upward into a two-story gallery. Small touches like the lumber window panels and fanlight Windowss have been carried over into the new redevelopments.

Our concluding finish was the URA Center, we explored the topographic point and the cardinal characteristics of the Singapore map that they have. There were little edifices and the construction of the Singapore. It was a great experience researching the topographic points that we discovered from the map.

To reason, it was merriment and gratifying detecting the topographic points from Chinatown. The country of involvement given from the map and the cardinal architectural characteristics which adds on to our journey. The experience was a fruitful one on detecting the topographic points of Chinatown.

The Musee du Louvre and its Pyramid, and St Paul’s Cathedral with the nearby 30 St Mary Axe were the chosen topics by both members of our group. All of these buildings are iconic building within their cities, and all were designed and built with vastly different contexts and purposes in mind. In this essay we will compare and contrast the different buildings in a manner that will help us understand the juxtaposition of old and new buildings.

We will also investigate what made the contemporary buildings in question switch status from controversial to widely accepted as unique and brilliant pieces of architecture. After considering the different context(s) and style(s) of the building we will present our informed personal opinions based upon our research, to reach a conclusion in accordance with the research question. Before we undertake an analysis we will quickly summarise what has been aforementioned in Patchworks 1 & 2. The two buildings that one of the members of the group researched were the Musee du Louvre and the Pyramide du Louvre.

The Musee as it stands now, was designed by Pierre Lescot for the King of France (at the time Francis I), however the designed and context of the building was radical and completely out of context with the western European style of its time (THOMPSON, Renaissance Paris: Architecture & Growth 1475-1600, p183). The style of architecture that the Louvre is of Renaissance origin, the architect; Pierre Lescot was said to have never visited Italy, and studied Italian Renaissance architecture only from third parties.

Meaning his point of reference was only that of textbooks, sketches and other architects (HANSER, Architecture of France, 2006, p116). However this does not mean he didn’t manage to create a Renaissance style building, the design and style of the Louvre is typical of the Renaissance, with the over-ornamentation and relief, and not plain surfaces. These are examples of typical French Renaissance over-decoration (MOORE, Character of Renaissance Architecture, 1905, p200). In patchwork 2 the focus was on the Pyramide du Louvre (a. k. a.

The Louvre Pyramid), the design of which was done by I M Pei (as part of a commission by the president Francois Mitterrand). The need for a reception/ welcome area for the museum was urgent, but space was scarce. Pei constructed an idea to go underground, topped with a pyramid made of glass and steel. A somewhat radical idea when considering a high-tech architectural construction would be positioned next to the Renaissance era architecture of the Louvre Museum (PIMLOTT, Without and Within: Essays on Territory and the Interior, 2007, p255; HEYER.

American Architecture: Ideas and Ideologies in the Late Twentieth Century, 1993, p275-278). Of course placing a pyramid (being a symbol of burial, and of an entirely different culture) in front of The Louvre did not go too smoothly with the public, and many criticised both Pei and Mitterrand’s intentions. However the pyramid was not a direct connotation to Ancient Egypt, but rather a fresh approach to a classical design.

Mitterrand was also criticised for blocking the view of the historical buildings by putting the pyramid in the middle of the courtyard, but due to its semi-transparent nature the pyramid juxtaposes The Louvre perfectly with the contrast of transparency and opaqueness (RUSTOW, ‘Transparent Contradictions’: Pei’s Pyramid at The Louvre, 2006, p6). The two buildings that the other member of the group researched were St Paul’s Cathedral designed by Christopher Wren, (construction finished in 1677), and 30 St Mary’s Axe designed by Norman Foster and partners, (construction finished in 2003).

Both these buildings were built to replace previously destroyed buildings. St Paul’s was built to replace old St Paul’s which was one of the biggest buildings in Europe at the time. Most of the building was destroyed by the Great Fire of London and in 1668 a Royal Warrant was issued for the complete demolition of old St Paul’s (GERAGHTY bbc. co. uk). Also in the time period between 1540 and 1650 the population grew by five or six fold. (ALLISON – Architects and architecture of London page 48) Ken ALLINSON notes, “it is against this background that Wren set about creating St Pauls cathedral”.

Wren chose white Portland stone which had been used to great success by architects before him, one example being Nicholas HAWKSMOOR’s St Mary’s Church (GLANCY- The story of architecture page 84-85). 30 St Mary Axe was designed by Norman Foster and Partners and AUP Engineers and was built for the insurance company Swiss RE. Swiss Re had been working out of a number of buildings in London and the company was looking to build one building that would replace all previous buildings to help unify the company.

The purpose of this focusing on one building was “getting people to interact, exchange idea’s, become a creative community” in the words of John COOMBER the then CEO of Swiss Re when they planned to build 30 St Mary Axe. Many locations were considered for the building but in 1992 a bomb with 100lbs of Semtex destroyed the Baltic Exchange (POWELL, 30 St Mary Axe A tower for London, 2006, page 14). This presented the ideal location for 30 St Mary Axe to be built. The initial plans for 30 St Mary Axe were for a much bigger building than the one finally constructed.

To gain planning permission Norman Foster and partners had to scale down the design. The design was described by London advisory committee as being “unduly dominant and assertive by reason of its height, form, bulk, massing and relationship to nearby high buildings”. (POWELL, 30 St Mary Axe A tower for London, 2006, page 19) One comparison to be made between St Paul’s Cathedral and the 30 St Mary Axe, and The Louvre and its Pyramid; is that of context at the time of design and construction. The London buildings were both designed and created within the context of their era.

St Paul’s was designed at the start of an English-Baroque movement (similar to that of other European movements, but much more conservative). (WHINNEY, Wren, 1971, p81; GLANCY, The Story of Architecture, 2000, p84), It follows very baroque traits, which would have appeared on other buildings built before it. The Cathedral was built in the context of its surroundings. The same could also be said about the 30 St Mary Axe. It was built in a very modern era where the style of high tech/modern architecture is very common. Therefore relating to the quote at hand, we believe that the London buildings are rooted in the context of their surroundings.

On the other hand, this conclusion cannot be said for The Louvre, and especially not for The Pyramid. The Musee du Louvre, (at the time, Palais du Louvre) was built as a one of a kind building, it did not follow a style that was already prominent in Paris, or indeed most parts of France at time of design and construction. We did agree that following completion; The Louvre did fit the style more closely when the renaissance and baroque movement swept through France, therefore more buildings of a similar style/context appeared.

Thus creating relevance to the Louvre’s style. As for the Pyramid, although it is an interesting juxtaposition with the older style Louvre; its context is not rooted with The Louvre. Had it been constructed near l’Arche de la Defense, in the more industrial part of Paris, then yes it would have context within it’s surrounding(s). This is probably the reason that it caused so much controversy upon completion, and seen as such an out of place building.

Another comparison that we made is that the London buildings were used to replace buildings that had been pre-existent and consequently destroyed (Old St Paul’s by the Great Fire of 1666, and The Baltic Exchange by an IRA terrorist attack). This means that the context of which the new buildings are built upon is relevant to their purpose now. Old St Paul’s and the previous buildings before it had always been that of a religious context: Roman temple, Saxon church and a Norman church (ALLINSON, Architects and Architecture of London, 2006, p49).

The Baltic Exchange being the predecessor of the St Mary Axe means that the financial context of the building has remained, being in the heart of London’s financial district brings this truth home, along with the unison of all five ‘Swiss Re’ buildings into one, again follows the financial context of the building (Swiss Re is a major insurance company). The difference between them and The Louvre and The Pyramid is that both Louvre and Pyramid were built for purpose and not to replace older buildings.

The Louvre, originally a fortress-turned-palace was stripped of its living necessities and turned into a museum, no building was required. The Pyramid was designed and built because of a lack of reception and link to all wings of the museum. Both are original builds and as a result have created their own context within their surroundings as opposed to relying on the context of its surroundings to determine the style. To conclude, as a group we believe that the context of a building is not simply rooted in the setting, and building can determine the context of a setting just as much as a setting can determine the context of a building.

We were given two examples, one in London where the setting has driven the context, and the other in Paris where a new style had changed the context. So to relate to the original quote by Dalibor Vesely, the relationship between buildings and intervening spaces is formal, but where the context is rooted is a chicken-or-egg question; one will govern the other, but this is likely to change based of multiple factors including location and the purpose of the building. [Word count with references: 1619] Word count without references: 1512] Bibliography •Renaissance Paris: Architecture and Growth 1475-1600, David THOMPSON, University of California Press, Los Angeles 1984 Extract paraphrased, page 183 •Architecture of France, David A. HANSER, Greenwood Publishing Group, 2006 Extract paraphrased, page 116 •Character of Renaissance Architecture, Charles Herbert Moore, The Macmillan Company, New York, 1905 Extract paraphrased, page 200 •Without and Within: Essays on Territory and the Interior, Mark PIMLOTT, 2007, Episode Publishers.

Extract paraphrased, page 255 •American Architecture: Ideas and Ideologies in the Late Twentieth Century, Paul HEYER, 1993, John Wiley and Sons. Extract paraphrased, page 275 – 278 •‘Transparent Contradictions’: Pei’s Pyramid at The Louvre, Stephen L. RUSTOW, 2006 Paper given at the Annual Meeting of the Society of Architectural Historians Extract paraphrased, page 6 •30 St Mary Axe A tower for London: Kenneth POWELL, published by Merrell 2006 Page 13 – 15 •2000+ London: Sam LUBELL, published by Maconcelli press 2008

Page 164 -165 •Article published by Dr Anthony GERAGHTY 17-02-2011 http://www. bbc. co. uk/history/british/civil_war_revolution/gallery_st_pauls_01. shtml(Referenced on the 19-11-2011) •Margret WHINNEY: Wren, Published by Hudson 1971 Page 81 – 84 •Christian NORBERG-SCHULZ: Baroque Architecture, published by Electra architecture, 2000 Page 194 – 195 •Jonathan GLANCY: The Story of Architecture, published by DK, 2000 Page 84 – 85 •Ken ALLINSON – Architects and Architecture of London, published by Architectural Press, 2008

Baroque was the artistic period dating from 1600 to 1750 in European history. Derived from the Portuguese word barocco, Baroque literally means an ‘uneven pearl. ’ Often compared to Hellenistic art, Baroque artists discovered emotions and used strong contrasts of light and shade showcasing continued motion in their works. Cunningham L. S. & Reich J. J. (2006) state that: It is not surprising that the term baroque, originally used to describe the extravagant European art of the seventeenth century C. E. , is often applied to the art of the Hellenistic period.

The artists responsible for these innovations created their works for a new kind of patron. (p. 77) Baroque was born in Italy. From the Renaissance period of symmetry, monumentality, balance and odd forms, the Baroque period was characterised by bold, curves and asymmetrical themes in paintings and buildings. Heinrich Wolfflin, in Principles of Art History: the problem of the development of style in later art (1932; translated 1950, Page 14), explained the differences between the art of the 16th and 17th centuries stating that “baroque (or, let us say, modern art) is neither a rise nor a decline from classic, but a totally different art.

” It also reflected the growth of monarchies as such a style suited the aristocracy who thought of integrated structures. Intense spirituality, realism of daily life, and psychological exploitation depicted in works of art and sculptures are highlights of Baroque art. Cunningham L. S. & Reich J. J. (2006) explain that: During the Baroque period, artists were attracted by extremes of feeling – sometimes these strong emotions were personal.

Painters and poets alike tried to look into their own souls and reveal by color or words the depths of their own psychic and spiritual experience. The desire to express the inexpressible required the invention of new techniques. As a result, baroque art placed great emphasis on virtuosity. Sculptors and painters achieved astonishing realm in the way in which they handled their media. Stone was carved in a way such as to give the effect of thin, flowing drapery, while seventeenth-century painters found ways to reproduce complex effects of light and shade.

(p. 359) Some of the main representatives of baroque art are Michelangelo Merisi-Caravaggio (Portrait of a Courtesan-1597), Annibale Carracci (River Landscape-1595), Agostino Carracci (Lamentation of Christ-1606), Rembrandt (The Jewish Bride-1666), Nicholas Poussin (The Plague at Ashdod-1630), Georges De La Tour (The Fortune Teller-1620-1621) Diego Rodriguez de Silva y Velazquez (Prince Balthasar Carlos-1635), Peter Paul Rubens (Mercury and Argus-1638), and Jan Vermeer (The Artist in his Atelier-1670).

Like art, Baroque architecture too progressed from renaissance in Italy. Curving facades, oval shape, triangular areas between rooftops, tips scrolls and gilded and double curves with luxurious materials and ornate decorations were emphasized upon instead of symmetry. The most famous work is the Palace of Versailles, France (built by Louis XIV) which was a symbol of wealth and power. Baroque architects used marble, gilt and bronze in their works.

Ceilings used illusionism where paintings were done and looked like engravings for expressing emotions. The main representatives of Baroque architecture were Gianlorenzo Bernini (Ecstasy of Saint Teresa, 1645-1652) and Francesco Borromini (Sant’Ivo alla Sapienza, 1640-1650). The late Baroque era was known as Rococo (1700-1780). In this era, the sculptors obtained unified spaces, created decorative schemes and emphasized on structural elements (Church of the Carmine, Turin, Italy, 1732, by Filippo Juvarra).

Baroque style moved out of Rome and split in two different forms – The Roman Catholic countries (Italy, Spain, Portugal, Austria and South Germany) and Protestant regions (England, Netherlands and rest of northern Europe). The Catholic countries were inclined towards freer and active surfaces thereby appealing through the senses, whereas the Protestant countries were more restrained and developed a quiet monumentality. As it migrated, Baroque style underwent changes in different countries according to the traditions, preferences and outlooks. In France, the architecture was geometrical, formal and precise merging with the Rococo style.

Dutch painting was sober and detailed; and Dutch architecture was affected by political and commercial events, thereby emphasizing on beauty and nature of the middle class. Germany continued with its alpine wood crafting tradition in sculptures. The Baroque style moved towards extravagance in Spain and Latin America. In the latter half of the 18th century, baroque transitioned to romanticism which was ‘the age of enlightenment. ’ References: Cunningham L. S. & Reich J. J. (2006). Culture and Values: A survey of the Humanities. Boston: Wadsworth, Cengage Learning.

Europe in the 17th century was a continent in upheaval. Even this early on, it must be acknowledged that what was just said can be considered as an understatement. There is just not enough space and enough phraseology to describe the depth and sweeping changes occurring at that time. The transformation from Medieval Europe into Industrialized Europe can be likened to birth pangs – painful experiences that would result in something amazing if one can only go through the ordeal.

In this period of turbulence there are two ideas and concepts that until now has caught the imagination of historians and art connoisseurs: a) Absolutism (political/religious) and b) Baroque (art). The complexity of these two terms offers a glimpse into a Europe emerging from slumber and into a collection of states that will rule the world. This paper will look into the relationship of absolutism and Baroque art in the context of the events that shaped 17th century Europe.

At the end of the study the following questions will be answered:

1. What exactly is absolutism?

2. What is Baroque art?

3. What exactly is the relationship between absolutism and Baroque art?

Absolutism For a 21st century American, a simple understanding of absolutism may be a form of rule that is anti-democratic. The modern world is so used to freedom of speech, freedom to assemble/protest and finally ability to choose its own leaders. Thus, anything that displays the opposite is ofcourse absolutism.

But an accurate definition of absolutism is problematic. First of all there is an extreme difficulty tracing its origins and how it developed. According to Peter Wilson, in his book, “Absolutism in Central Europe”, “There seems little agreement as to when it emerged, what drove it forward, whether it progressed through distinct phases and when it came to an end” (2000, p. 10). But historians could not be denied. Many had pointed to the end of the Thirty Years War, as the beginning of the age of absolutism.

Wilson elaborated on this timeline when he wrote “The Treaty of Westphalia in 1648 […] not only concluded the Thirty Years War in a major European peace settlement confirming France as a major power, but strengthened the German princes by weakening the authority of the Holy Roman Emperor” (2000, p. 12). Absolutism therefore is a transition phase between the Dark Ages and the coming capitalist society. And to simplify it much further, “…absolutism existed as a real form of monarchy”, according to Wilson (2000, p. 11).

It is now easy to understand that this kind of rule which was exemplified by France, can find its origins in the past monarchial systems that ruled Europe and this include the display of absolute power by an infallible pope. Politics and Art The connection between Baroque art and absolutism is subtle. There is no proof that can show that Kings had a direct hand in developing this art form. Still, the force that propagated it and encouraged it to flourish comes from leadership soaked in absolute power.

This is because the line that connects absolutism and Baroque art is the term counter-reformation. It would be helpful to take one step backwards and see the development of counter-reformation and the subsequent use of an art form as a kind of information disseminating tool. It quickly developed into a fashionable thing for Kings to indulge in – collecting Baroque art and commissioning artists to create the same. Baroque Art The cultural product of the 17th century Europe was described as “Baroque” (Kleiner & Mamiya, 2005, p. 569).

Kleiner and Mamiya then added that it is, “…a convenient blanket term. However, this term is problematic because the period encompasses a broad range of developments, both historical and artistic, across an expansive geographic area” (2005, p. 569). Since it is impossible to have an accurate description of Baroque art that will give justice to all artwork done in this period, then it would be better to console oneself with a basic understanding of Baroque through Mary Marien’s work.

In Fleming’s Arts and Ideas, Marien remarked that in this technique there is more emphasis on forceful striving and restless motion as opposed to calm and repose (2004, p. 359). Mariend added that, “Grandeur and magnificence prevailed in the baroque arts. Emperors, kings, popes, and princes vied with one another to attract great artists to their courts by offering large commissions” (2004, p. 359). Counter-Reformation The motivation and the directive to use baroque arts in the Counter-Reformation was traced by Klein and Zerner.

It emanated from the headquarters of the Roman Catholic Church and they wrote, “In reaction to the Protestant’s attacks against images, the Council of Trent, restating the ideas of the 15th century ‘Catholic Reformation,’ required art to regain dignity in its forms and coherence (Klein & Zerner, 1966, p. 119). But the effect of baroque arts was not merely to create icons that are proper and dignified. It was able to move people by the way the subjects are portrayed.

Reich and Cunningham elaborated on this and they wrote: Carvaggio’s work is emotional and dominated by strong contrasts of light and darkness. Annibale Carracci painted scenes of movement and splendor […] Rembrandt used strong contrast of light and dark to paint deeply felt religious scenes…(2005, p. 195). Conclusion Attempting to define both Baroque art and absolutism proved to be problematic for the proponent since the two terms were used to describe a wide range of developments in 17th century arts and politics.

Still, it was ascertained that absolutism is a form of monarchial rule that existed after Europe emerged from the Medieval Period. It was also a transition phase from the feudal type of governing the land to the more sophisticated nations states and unto the more recent capitalistic society of Europe. Around the same time that this kind of governance was used in Europe – of which France was the prime example of a more distinguishable absolutism – there were other events and movements that could be indirectly linked to said form of governance.

In reaction to an earlier kind of absolutism – of which the Holy Roman Emperor was the prime example – Protestantism was the result of the discontentment of such rule. The counter-reaction of the Roman Catholic Church to the act of splitting the church in two is a program called counter-reformation. In essence it was a method aimed at strengthening Roman Catholics remaining strongholds at the same time actively defending the Catholic Church from further incursions by the Protestants.

Baroque was one of the major tools used to display the superiority of the Roman Catholics, as opposed to the crudeness of the breakaway sect. But it was not only the Church who realized its importance, the rich and royalty spared no expense in collecting and commissioning artists to produce one. Thus, there were two ways that Baroque art became a utilitarian tool in relation to those wielding absolute power. With regards to the Catholic Church an explanation was already given earlier. Concerning royalty, the nobility and wealthy merchants, it was a way of displaying opulence and status.

References

Reich, J. & Cunningham, L. (2005). Cultures and Values: A Survery of the Humanities. CA: Thomson Wadsworth. Marien, M. (2004). Fleming’s Arts and Ideas. CA: Thomson Wadsworth. Kimmel, M. (1988). Absolutism and Its Discontents: State and Society in Seventeenth Century France and England. New Jersey: Transaction, Inc. Kleiner, F. & Mamiya, C. (2005). Gardner’s Art Through the Ages: The Western Perspective. CA: Thomson Wadsworth. Wilson, P. (2000). Absolutism in Central Europe. New York: Routledge.

Jack Szmanda Architectural History, 3411 Professor Satkowski November 15, 2010 Contrast of Resources When researching for a specific reason or refined searches there are many places in which you can search to find results that can be more accurate or useful to the intended search. In the process of collecting information, one must review what kind of information is being displayed.

Just typing a key term into Google isn’t sufficient, but a deeper analysis is necessary.Articles, journals, books, and papers are all written with an intended focus and audience. With this, specific information is portrayed in order for the writer to adequately propose his findings or ideas to the readers. When researching information on the great building of Amphitheatrum Flavium, or more commonly known as the Colosseum, there were many sources, but the area of research that was being limited towards was the construction and looks of building rather than the architecture or city involvement.In searching, three beneficial sources were found; Rome, V,6: Colosseum (Grove Dictionary), The Colosseum (Wikipedia), and A Perfect Ruin (JSTOR), all of which portrayed different information and views surrounding the building and were intended for different reasons. The Grove Dictionary of Art is an encyclopedia that is available to the general population that relates its information to Art and Architecture. The article selected from Grove, Rome, V,6: Colosseum, was written by a women named Janet DeLaine.

DeLaine goes in great detail of the explanation of the visual and architectural aspects of the building. Her writings were mostly guided towards the explanation of how the building achieved its vast size and why the creators did so. DeLaine is guiding her writing towards a group trying to better their understanding of the Colosseum, such as Architecture Students. It is written in a way that suggests that she is sitting in the middle of the Colosseum while looking at a plan view of the building, trying to what she saw.The information being used is very up to date, even though it is almost a history lesson. She uses examples that are seen today, and renovations that have occurred recently in order for the preservation of the building, revealing that this is a valid source with legitimate and accurate information. The information given in Rome, V,6: Colosseum is very accurate an would more than likely be most helpful in the process of writing paper on the history of the building.

The next source that was collected was from the infamous Wikipedia. The exert from the encyclopedia was entitled The Colosseum where the writer was not specified. This database showed an enormous amount of information regarding the Colosseum ranging from the history of the building to the appearance in the media today. Similar to the article taken from the Grove Dictionary of Art, this article has a vast historical basis, ranging from the original construction to the multiple reconstructions throughout the years.Unlike Grove, Wikipedia goes farther into the building than just its appearance and construction, but its use and image. Wikipedia explains areas in which focus on the community involvement surrounding the Colosseum. Whether it be for entertainment, to explaining the churches involvement later in the buildings life.

The article was written to educate the reader on the building as a whole, but not refined to the teachings of an Architect, but a general student. Anyone willing to learn would get a good understanding of the building and the surrounding community.The data within the article is viewed as being current and up to date not only because it shows recent images of the building but it talks about the activity today that still surrounds the Colosseum. This reference has a large variety of strong information regarding the Colosseum. This form of secondary information does have very strong references to associations like the BBC and Encyclopedia Britannica, but the major flaw about the database is that any person could go and alter information found on the cite, making it a less reliable form of reference.The article would be very useful in writing a paper or teaching a lesson on the building, image, and community involvement surrounding the Colosseum, where it would be less helpful for a design project or planning a trip. The next resource selected, being entitled A perfect Ruin from the Journal Arion.

This exert from the journal is much larger and depictive that the other to sources. Published by the Trustees of Boston University, uses a different approach I relaying the information to the reader.The document goes in great detail of the design and structure if the building, but displays it as if the author was looking at a photograph. The author believes that a photograph is key in the studying and analysis of art and he expresses that in his writings. “By examining the photographs of the Colosseum, along with contemporary documents, we shall able to discern some of the most significant elements of the genuine sensation of Rome (Perfect Ruin, 113). ” Even through this passage alone it is easily seen that the author exemplifies photography, as a basis of the great Colosseum.The authors dialog is almost as if they are trying to communicate with the reader, trying to draw them in.

The focus is to teach the pure essence of reading photography and how they bring out the brilliance of a building like the Colosseum. The writing could be intended for a group of students, but not those that are strictly searching for elements of the building like an Architectural History student, but one who wanted to see it through different eyes, through the eyes of a camera.It also could be used for tourists wanting to understand what would be seen if visiting the Colosseum. The information successfully gives great reference to the Colosseum, while still trying to keep the readers interests. This is important because it isn’t written like a history book, but it still projects large amounts of information as a history book would. This is a great source due to its vast amount of information and legitimacy, but also because it reveals information in a different more elegant way.When approaching research from different sources, it is always important to review the information at hand to ensure that the writings are that of what you intended, and to show type of writing it is.

In the exerts from The Grove Dictionary of Art, Wikipedia, and JSTOR, all are different forms of writing ranging from a deep historical timeline of creation and construction, or a list of construction, and explanation of the building and society, to a unique prospective through the lens of a camera.All the sources can be written about the same idea, but all can be written in a different way, and intended for a different audience.Work Cited Arion, Trustees of Boston University. http://www. jstor. org/action/showPublisher ? publisherCode=tbu. Third Series, Vol.

2, No. 1 (Winter, 1992), pp. 115-142 “Colosseum. ” Wikipedia, the Free Encyclopedia. 4 June 2009. Web. 16 Nov.

2010. <http://en. wikipedia. org/wiki/Colosseum>. DeLaine Janet. 2010. Rome V, 6: Colosseum.

Oxford University Press. June 22, 2010. <www. oxfordartonline. com. >