The Rose Window: Splendor and Symbol, Painton Cowen

Civil Engineering and Architecture, 2021

Gothic architecture represents one of the most attractive moments of sacred architecture. In this context, some architectural elements act as leading characters, which are known as Gothic aesthetics. One of these is the rose window. It is a set element filled with marked symbolism that arouses considerable interest, and Spain has plenty of examples. In Valencia (Spain), the Santa Catalina or San Nicolás churches are extremely relevant temples. A coetaneous building of these churches is the Santos Juanes Royal Parish church, located next to the city's Central Market. Today it presents traces of this gothic origin, although the building has undergone complete Baroque modification, as evidenced by the huge "O" of San Juan. An element, according to all the traces, might be a big rose window that it is blocked today. Therefore, given the uncertainty of this particular element being present in the set of this church, this article aims to analyze the current aesthetics showing this well-known oculus in not only its historic and constructive forms, but also its structural one. To do so, we collected and analyzed historic and technical documentation, and studied the incidence of this element on the building's stability as a whole.

Civil Engineering and Architecture, 2021

Gothic architecture represents one of the most attractive moments of sacred architecture. In this context, some architectural elements act as leading characters, which are known as Gothic aesthetics. One of these is the rose window. It is a set element filled with marked symbolism that arouses considerable interest, and Spain has plenty of examples. In Valencia (Spain), the Santa Catalina or San Nicolás churches are extremely relevant temples. A coetaneous building of these churches is the Santos Juanes Royal Parish church, located next to the city’s Central Market. Today it presents traces of this gothic origin, although the building has undergone complete Baroque modification, as evidenced by the huge “O” of San Juan. An element, according to all the traces, might be a big rose window that it is blocked today. Therefore, given the uncertainty of this particular element being present in the set of this church, this article aims to analyze the current aesthetics showing this well-known oculus in not only its historic and constructive forms, but also its structural one. To do so, we collected and analyzed historic and technical documentation, and studied the incidence of this element on the building’s stability as a whole.

2006

Nathalie Charbonneau1, Dominic Boulerice2, David W. Booth3, Temy Tidafi1 1École d’Architecture, Faculté de l’Aménagement, Université de Montréal, (Québec) Canada 2Department of Art History and Communication Studies, McGill University, Montréal, (Québec) Canada 3Département d’Histoire de l’art et d’études cinématographiques, Université de Montréal, (Québec) Canada http://www.grcao.umontreal.ca/html/en/

Koenraad Jonckheere (ed.), Michiel Coxcie 1499-1592 and the giants of his Age, Leuven 2013, 2013

The Concept and Fabrication of Stained Glass from the Middle Ages to Art Nouveau 30th International Colloquium CORPUS VITREARUM Barcelona – Cerdanyola – Girona 4–7 July 2022, 2022

This article aims to highlight a collection of stainedglass designs dating from the 17th/18th century and reveal elements of their origin, authorship, and purpose. They are kept in the Church of Santa Maria del Mar in Barcelona. The conservation of old designs is not very common. In fact, in Catalonia, they only survive from the 18th century: the eleven presented here and the one found by Francesc Miralpeix (published in 2008) in the Archive of Girona Cathedral corresponding to Francesc Saladriga’s design of 1730 for the rosette on its façade. This design never came to fruition because of its high cost. The eleven designs presented here were donated in 1905 by Joaquim Amigó, head of the company Hijo de Eudaldo Ramon Amigó y Cía, to the Junta Municipal de Museus i Belles Arts de Barcelona.They show unity in their origin but great differences in quality and intended destination. The Churches of Santa Caterina, Santa Maria del Pi, and Santa Maria del Mar would be the recipients of the completed windows. The differences between the preserved works in stained glass and the designs indicate that the windows have undergone significant changes, either from the outset of production or over time. The wide range of sources for the design models is also an element to highlight. Some of them are local, while others come from international paintings of the first order and from repertoires of engravings that circulated through the studios and from all over Europe. Changes that were taking place in the field of painting during the 18th century plus the presence of the painter Antoni Viladomat in Barcelona are part of the interpretation of some of these designs. In this respect, we must rethink the collaboration of the painter with the Ravella studio, as the literature has pointed out concerning the development of the windows of the Church of Santa Maria del Pi.

The façade of Troia Cathedral is tilted around a horizontal hinge, of seismic origin and passing through the rose-window. As a consequence, the rose-window is heavily damaged and deformed out-of-plane. In this paper, cognitive and diagnostic investigations are presented on the materials and the elements of the rose-window (GPR, thermography, sonic and ultrasonic tests, ambient vibration survey), together with a structural diagnosis.

1984

2000

The façade of Troia Cathedral is tilted around a horizontal hinge, of seismic o r i- gin and passing through the rose-window. As a consequence, the rose-window is heavily dam- aged and deformed out-of-plane. In this paper, cognitive and diagnostic investigations are pre- sented on the materials and the elements of the rose-window (GPR, thermography, sonic and ultrasonic tests, ambient