Today, the great cathedrals of Europe stand as beautiful, imposing monuments - the pride of parishioners and the wonder of tourists. It is difficult for us now, even with all our engineering and architectural skills, to imagine the extraordinary ways these medieval houses of worship were constructed. Midway through the twelfth century, the building of cathedrals became a crusade to erect awe-inspiring churches across Europe. In their zeal, bishops, monks, masons, and workmen created the architectural style known as Gothic, arguably Christianity’s greatest contribution to the world’s art and architecture. The style evolved slowly and almost accidentally as medieval artisans combined ingenuity, inspiration, and brute strength to create a fitting monument to their God. Here are the dramatic stories of the building of Saint-Denis, Notre Dame, Chartres, Reims, and other Gothic cathedrals.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 In 1124, King Louis VI of France received word that his country was about to be invaded by the German emperor and English king. He hurried to the Abbey of Saint-Denis, and prayed to Saint Denis for the safe deliverance of France. #2 The Abbey of Saint-Denis, the religious capital of France, was not the most impressive looking building. It housed many relics, and it was constantly being visited by pilgrims. But Abbot Suger still felt it was not grand enough. #3 Suger was a monk who was appointed abbot of Saint-Denis in 1122. He was a proponent of the simple, pious life, but he also enjoyed good food and drink, and he never renounced his indulgences. #4 Abbot Suger was a very pious man, and he was also a historian who wrote prolifically. He was also well-traveled, and became an intimate of the powerful. He was able to transform the church at Saint-Denis, and in doing so, change the direction of ecclesiastical architecture.

The 11th and 12th centuries witnessed a transformation of European culture, from architecture and the visual arts to history, philosophy, theology and even law.

This title was first published in 2000: Did the plan of medieval churches have any underlying symbolic meaning? This work re-opens the debate about the importance of geometry and symbolism in medieval architectural design and argues the case for attributing an intellectual meaning to the planning of abbeys and cathedrals. In challenging prevailing claims for the use of arithmetical rations in architectural design, notably those based on the square root of two, Dr Hiscock advances a perspective consisting of proportions derived from the figures of Platonic geometry - the square, the equilateral triangle and the pentagon - and provides evidence for the symbolic interpretation of these figures. The investigation further reveals whole series of geometric relationships between some of England's most celebrated Norman cathedrals, such as Norwich or Durham, together with a wide sample from the Continent, from Old St Peter's in Rome to Chartres Cathedral, and sets out a comprehensive design method in each case. Hiscock first demonstrates the proposition that the ideas of Christian Platonism, including number and geometry, remained current and were employed in the thought of the early Middle Ages. In particular, he argues that they can be associated with the leading persons in the 10th-century revival of monasticism and that they found expression in the "white mantle of churches" that spread across Western Europe at the end of the first millennium AD. The book then provides a detailed analysis of the geometric proportions of church plans between the 9th and 12th centuries in Germany, France and in England. This research seeks to demonstrate that a coherent sequence of geometric forms can be seen in thse plans, forms which correspond to the key figures of Platonic geometry as understood in the context of Christian Platonist thought. In conclusion, the author shows how the system of design proposed could be set out on site using the known working methods of medieval masons.