Church Of Saint-Nicholas-des-Champs, Paris
The Church of Saint-Nicolas-des-Champs (''Église Saint-Nicolas-des-Champs'') is a Catholic church in Paris' Third arrondissement. Early parts of the church, including the west front, built 1420–1480, are in the Flamboyant Gothic style, while later portions, including the south portal, mostly built 1576–86, are examples of French Renaissance architecture. It is notable particularly for its Renaissance carved sculpture, decoration and large collection of French Renaissance paintings in the interior. History The first chapel was constructed at the end of the 11th century by the monks of the Priory of Saint-Martin-des-Champs, a Benedictine monastery, as a church for the servants of the abbey. The abbey at this time was one of the most important in France; it was called "The third daughter of Cluny", after Cluny Abbey in Burgundy, the founding monastery of the order. It is located next to the Musée des Arts et Métiers, a museum of industrial arts and crafts, which occupies t ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Catholic Church
The Catholic Church, also known as the Roman Catholic Church, is the largest Christian church, with 1.3 billion baptized Catholics worldwide . It is among the world's oldest and largest international institutions, and has played a prominent role in the history and development of Western civilization.O'Collins, p. v (preface). The church consists of 24 ''sui iuris'' churches, including the Latin Church and 23 Eastern Catholic Churches, which comprise almost 3,500 dioceses and eparchies located around the world. The pope, who is the bishop of Rome, is the chief pastor of the church. The bishopric of Rome, known as the Holy See, is the central governing authority of the church. The administrative body of the Holy See, the Roman Curia, has its principal offices in Vatican City, a small enclave of the Italian city of Rome, of which the pope is head of state. The core beliefs of Catholicism are found in the Nicene Creed. The Catholic Church teaches that it is the on ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Paris Commune
The Paris Commune (french: Commune de Paris, ) was a revolutionary government that seized power in Paris, the capital of France, from 18 March to 28 May 1871. During the Franco-Prussian War of 1870–71, the French National Guard had defended Paris, and working-class radicalism grew among its soldiers. Following the establishment of the Third Republic in September 1870 (under French chief executive Adolphe Thiers from February 1871) and the complete defeat of the French Army by the Germans by March 1871, soldiers of the National Guard seized control of the city on March 18. They killed two French army generals and refused to accept the authority of the Third Republic, instead attempting to establish an independent government. The Commune governed Paris for two months, establishing policies that tended toward a progressive, anti-religious system of social democracy, including the separation of church and state, self-policing, the remission of rent, the abolition of child l ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Quentin Varin
Quentin Varin (1584 in Beauvais – 1626 in Paris), was a French Baroque painter. Biography According to the RKD he was the teacher of Nicolas Poussin.Quentin Varin in the RKD He is known for religious works. References Quentin Varin on Artnet {{DEFAULTSORT:Varin, Quentin 1584 births 1647 deaths 17th-century French painters French Baroque painters People from Beauvais ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Michel Corneille The Elder
Michel Corneille the Elder (c. 1601 – 1664) was a French painter, etcher, and engraver. Life Corneille was born in Orléans. He was one of many who studied with the celebrated master Simon Vouet, who strongly influenced French painting of the early 17th century. In 1648, Corneille was one of the founders of the French Royal Academy of Painting and Sculpture and was elected as one of the original twelve elders in charge of its running. Ed. , Paris 1853, vol. ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Jacques Sarazin
Jacques Sarazin or Sarrazin (baptised 8 June 1592 in Noyon – died 3 December 1660 in Paris) was a French sculptor in the classical tradition of Baroque art. He was instrumental in the development of the Style Louis XIV through his own work as well as through his many pupils. Nearly all his work as a painter was destroyed and is only known through engravings. Life Sarazin was born in Noyon, France, and went to Paris with his brother, where he trained in the workshop of Nicolas Guillain. He went to Rome in 1610 and remained there until 1628. While in Rome, he produced garden sculpture for Cardinal Aldobrandini's Villa Aldobrandini in Frascati (c. 1620). From 1622 to 1627, he carried out stucco work to accompany the paintings of Domenichino on the high altar of Sant'Andrea della Valle and in San Lorenzo in Miranda. In 1628 he returned to Paris, where, in 1631, he married a niece of the painter Simon Vouet, whom he had met in Rome and for whom he had created some angels in ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Simon Vouet
Simon Vouet (; 9 January 1590 – 30 June 1649) was a French painter who studied and rose to prominence in Italy before being summoned by Louis XIII to serve as Premier peintre du Roi in France. He and his studio of artists created religious and mythological paintings, portraits, frescoes, tapestries, and massive decorative schemes for the king and for wealthy patrons, including Richelieu. During this time, "Vouet was indisputably the leading artist in Paris,"Posner, Donald. "''The Paintings of Simon Vouet'' " (book review), ''The Art Bulletin'', Vol. 45, No. 3 (Sept., 1963), pp. 286–291. and was immensely influential in introducing the Italian Baroque style of painting to France. He was also "without doubt one of the outstanding seventeenth-century draughtsmen, equal to Annibale Carracci and Lanfranco." Career Simon Vouet was born on January 9, 1590, in Paris. His father Laurent was a painter in Paris and taught him the rudiments of art. Simon's brother Aubin Vouet was also ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Philippe De Buyster
Philippe de Buyster (1595 – 1688), was a Flemish-French sculptor. Biography He was born in Antwerp and became a pupil of Gillis van Papenhoven.Philippe de Buyster in the He moved to in about 1622, where in 1632 he became 'Sculpteur ordinaire du Roi' and lived to a great age. He worked on numerous funeral monuments and decorations for the Royal court, often collaborating with Jacques Sarazin. His widow remarried the painter [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Antoine Lepautre
Antoine Lepautre or Le Pautre (1621–1679) was a French architect and engraver. Born in Paris, he was the brother of the prolific and inventive designer-engraver Jean Lepautre. Antoine Lepautre has been called " "one of the most inventive architects of the early years of Louis XIV's reign". He was a protégé of Cardinal Mazarin, to whom he dedicated his ''Desseins de plusieurs palais'' (Paris, 1652/3), in which his imagination is given free rein. In 1646–1648, Lepautre built a chapel for the Jansenist Convent of Port-Royal at Paris. His Hôtel de Beauvais (1655–1660), rue François-Miron, built for Pierre de Beauvais and his wife Catherine Henriette Bellier, ''première dame de chambre'' to Anne of Austria, brought Lepautre celebrity for the ingenious way he made use of a highly irregular parcel of land, ranging his structure round an oval court. The Hôtel de Beauvais's architectural qualities were noted by Bernini during his Paris sojourn, and it remains Lepautre's o ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Vestibule (architecture)
A vestibule (also anteroom, antechamber, or foyer) is a small room leading into a larger space such as a lobby, entrance hall or passage, for the purpose of waiting, withholding the larger space view, reducing heat loss, providing storage space for outdoor clothing, etc. The term applies to structures in both modern and classical architecture since ancient times. In modern architecture, a vestibule is typically a small room next to the outer door and connecting it with the interior of the building. In ancient Roman architecture, a vestibule ( la, vestibulum) was a partially enclosed area between the interior of the house and the street. Ancient usage Ancient Greece Vestibules were common in ancient Greek temples. Due to the construction techniques available at the time, it was not possible to build large spans. Consequently, many entranceways had two rows of columns that supported the roof and created a distinct space around the entrance. In ancient Greek houses, the prothyru ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Ionic Style
The Ionic order is one of the three canonic orders of classical architecture, the other two being the Doric and the Corinthian. There are two lesser orders: the Tuscan (a plainer Doric), and the rich variant of Corinthian called the composite order. Of the three classical canonic orders, the Corinthian order has the narrowest columns, followed by the Ionic order, with the Doric order having the widest columns. The Ionic capital is characterized by the use of volutes. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform while the cap is usually enriched with egg-and-dart. The ancient architect and architectural historian Vitruvius associates the Ionic with feminine proportions (the Doric representing the masculine). Description Capital The major features of the Ionic order are the volutes of its capital, which have been the subject of much theoretical and practical discourse, based on a brief and obscure passage ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Pilasters
In classical architecture, a pilaster is an architectural element used to give the appearance of a supporting column and to articulate an extent of wall, with only an ornamental function. It consists of a flat surface raised from the main wall surface, usually treated as though it were a column, with a capital at the top, plinth (base) at the bottom, and the various other column elements. In contrast to a pilaster, an engaged column or buttress can support the structure of a wall and roof above. In human anatomy, a pilaster is a ridge that extends vertically across the femur, which is unique to modern humans. Its structural function is unclear. Definition In discussing Leon Battista Alberti's use of pilasters, which Alberti reintroduced into wall-architecture, Rudolf Wittkower wrote: "The pilaster is the logical transformation of the column for the decoration of a wall. It may be defined as a flattened column which has lost its three-dimensional and tactile value." A pil ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |
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Doric Order
The Doric order was one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognized by the simple circular capitals at the top of columns. Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above. The Greek Doric column was fluted or smooth-surfaced, and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features originally unique to the Doric, the triglyph and gutta, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Do ... [...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]   |