A Critical Companion to English Mappae Mundi of the Twelfth and Thirteen Centuries

A Critical Companion to English Mappae Mundi of the Twelfth and Thirteen Centuries: A Summary of Chapter 7

The phrase mappa mundi, which translates to maps of the world, is a great illustration of how beautiful artifacts, when seen on their own, may teach us something new about the way that medieval thinkers saw the cosmos.

In addition, the mappa mundi illustrates the academic community’s position in relation to that of the rest of the globe.

They include elements of geography, history, mythology, and religion into their body of knowledge.

During the 12th and 13th centuries, England was widely regarded as the premier location for the production of maps of this kind.

There are several excellent examples, including the Hereford Mappa Mundi, the maps created by Matthew Paris, and the Vercelli map.

In Chapter 7, Daniel Connoly makes repeated references to the opinions of many academics about the state of the globe at the time.

By recounting the history of Paris from the beginning of time up to the year 1253, Daniel Connoly utilizes the Chronica Majora to demonstrate his perspective on the world and how he views it.

This relates to the whole course of Earth’s history. The author of this book makes an attempt to decipher the Hereford Map, which is one of the seven most significant English mappa Mundi from the 12th and 13th centuries that are examined in this work.

An image of the Mappa Mundi, which is both maps of the globe and stunning pieces of art in their own right, is included in the reading.

These maps were created in the Middle Ages. Nevertheless, they provide some insight into the way individuals of the Middle Ages saw the world and their role in it.

They merge real-world locations with elements drawn from mythology, geography, history, and other disciplines, as well as the ethereal and spiritual realms.

They had the greatest level of popularity in England during the 12th and 13th centuries. There are several excellent examples, including the Hereford map, maps created by Matthew Paris, and the Vercelli map.

The seven English mappae Mundi companions that are considered to be the most essential provide an in-depth introduction to the seven mappae Mundi that are often regarded as being the most important.

In Chapter 7, the author demonstrates his point using an approach based on mapping in order to support his argument.

However, there is a critical note of how a majority of early cartographers struggled to map the world due to their own ignorance.

For instance, this scenario results in the creation of a map of Paris as well as a variety of various layouts.

In addition, Matthew takes the initiative to draw the map of the globe, which demonstrates how he constructs his cartography.

Connoly brings out a lot of significant topics, such as how various artists create unique maps and the many surveys that are conducted before the creation of each map.

The single most important thing that can be learned from this section is that in order to have a successful end product with a drawing, one must first ensure that they have all of the necessary tools and allot a specific amount of time to work on it.

Artistic Integration in Gothic Buildings: A Summary of Chapters Ten and Eleven

A fresh perspective is brought to bear on the old canon by the writers, Virginia Chieffo Raguin, Kathryn Brush, and Peter Draper. They illustrate how the Gothic church is a multifaceted historical structure that, from the ninth century, has developed and undergone transformations.

The topic of how art is integrated into Gothic structures is investigated from a variety of perspectives, including historical ones.

The abbey of Saint-Denis and the Sainte-Chapelle in Paris are usually considered to be the ideal venues to study medieval art history.

Other excellent locations are the cathedrals of Durham, Wells, Chartres, Reims, Poitiers, Strasbourg, and Naumburg.

The Sainte-Chapelle in Paris is yet another significant location.

The reading in chapter 10 and 11 will result in a wide variety of works, such as the construction of buildings, the creation of sculptures, and the assembly of furniture.

On the structures that have been constructed, many images may be discovered, including those of bishops, kings, and angels, amongst others.

Both of the sculptures have a striking appearance to them. The constructed buildings serve as the base for the campaigns, and the stained-glass windows are utilized to display the many types of technical information.

The authors support their contention and argument with a number of artifacts to demonstrate their point of view and provide evidence for their claims.

To begin, one of the most well-known depictions of the Virgin Mary is the statue of Notre Dame des Miracles, which can be seen in France.

The Church of Laon is committed to maintaining its traditions, which can be seen in both the old and the modern images.

Second, since architects are so cognitively engaged in the design process, the interior ornamentation is an excellent illustration of how sculpture and architecture can work together to create something beautiful.

To summarize, the celestial choir of the apostles is shown in the stained glass because virtues and high moral standards are more directly tied to vices.

The authors make use of contemporary research techniques in order to determine how our understanding of Gothic church building relates to the present environment.

The writers of the book Artistic Integration in Gothic Buildings discuss famous monuments that have always been at the heart of studies of medieval art history within the context of their discussion of the book.

Among them are the cathedrals of Durham, Wells, Chartres, Reims, Poitiers, Strasbourg, and Nuremberg, as well as the abbey of Saint-Denis and the Sainte-Chapelle in Paris. Other examples are the Strasbourg Cathedral and the Poitiers Cathedral.

The writers approach the subject matter from a wide range of specialist perspectives and research approaches, drawing from art history, history, liturgical studies, and theological perspectives.

The main takeaway from the two chapters discussed herein include a great many significant things, but the one that stands out as being of the utmost significance is the fact that the exquisite manner in which statues and other pictures and items from the various sections of the Gothic cathedral fit together helps people enjoy it more.

Artists need to learn from this that they have every right to be proud of what they have accomplished in any era.