Greek and Gothic architecture
Anywhere art art statics and dynamics are not so clearly opposed to each other as in Greek and Gothic sculpture. Across Nordic architecture, these creations form the sharpest possible antagonistic expressions formative will. Gothic means the only serious attempt that only once in the history of architecture to succeed, the attempt to display the spatial art out of a metaphysical feeling of time. The essence of time due to one direction unlike the three dimensions of space. Gothic knows only one sequence of forms, the desire in one direction. So it is in the struggle with matter, with a stone block, with horizontal load and vertical support, as well as requiring space, equipment, walls, ceiling. So Gothic is a satisfaction of desire, which knows only the notion of “forward”, it represents a first embodiment in stone of the dynamic Western soul, which later again tried to bring the painting, but which is fully smallford only be realized in music – partly also in the drama. Already from this General point of view, Gothic is something highly personal: always a super-intelligent (irrational), strong-willed, characteristic of Western Europe in a certain time the form of one of its rhythmically recurring vibrations.
Needless to say that the Greek temple was also the expression of people’s perception and therefore in a sense an expression of personality. But if we understand (and it is now as it should be) the personality is always the opposite of matter, current offensive tireless quest to transform matter into a benchmark for comparison with the inner desire, in the Greek Church there is little we can find out that will. The Greek temple, though built in honor of God, contains a statue of the God, and yet this is not the interior, consecrated the statue is significant, and overall appearance. The whole structure, thus, from the outset perceived as an element of plastics, namely, stationary cubic spatial form. The Greek temple stands in isolation, it does not detect the necessary relationships with their environment and needs, despite the facade, viewed from all sides. Classical Doric structure represents the perfect finished aligning space. At the scale of individual elements are hiding the scale of the whole, there is not one line, not one element of the decor that would go out beyond the form of the temple. All this refined, figuratively understood, or proven function, the load bearing and is expressed most clearly and are in complete equilibrium relative to each other.
All three-layer structure: the pressing weight of roof with frieze and architrave, a number of load-bearing columns, widely divergent stages. Because all the work is understood as one element, for example, a classical Doric column without a base. If the classical Greeks saw or should have seen, at once had the use of reason (as later during iniki and Renaissance). In Doric times the entire base had established the Foundation for the entire row of columns and to transmit their load. Cargo roof taken separate points of the columns. Like the pillow is included here is of the Doric capital, the contour of which follows mathematical lines of force and is a final touch to a brilliant creation of style will, aiming at objectivity. The pattern of resistance of the column is indicated by a small thickening of the rod. The horizontal load is again emphasized by the division into three parts the architrave, while the overhanging ledge of the cornice symbolizes drops. Above it stands the free end of Kimathi with a slight gust in the air. At the corners of the pediment and on the edge of the pediment are acroteria as a fixed point. Static and artistic reasons, the corner columns are reinforced and slightly tilted inwards for advanced degrees experience not based on strictly horizontal. Thus, we find everywhere the artistic will striving for the expression of objective and formal genius. Changes in the design of columns, the introduction of richer decoration in the fields of the pediments, friezes, becoming lighter Ionica, all this essentially does not change the Greek leitmotiv. For half a Millennium, this clear and free of the Greek genius again and again was converted by recognized perfect the basic law and would leave obvious tracks everywhere could act.