 Today, we're going to continue talking about the Romanesque. And I just want to show you a couple of images from Clooney. This is the Church of Clooney over here. And next to it is some of the carving that decorates the facade of the church. One thing immediately jumps out looking at both of these images. And that is that they're beginning to behave on a symbolic or representational level in a way that's quite different from the architecture that we saw before. The church, for example, becomes a model for Jerusalem on Earth, so that there's something about the collection of towers. There's something about the geometry of the radial apps. There's something about the basic forms that begins to become instructive. And as medieval architecture advances, it becomes more and more the task of the church to become like a living Bible. People are illiterate. People can't read. People have no access to books, even if they could read. And so part of the job of architecture is to instruct and inform. It does so in various ways. For example, this monster guy being eaten by devils is reminding you that virtue is better than vice, because if you are a bad person, you will be eternally tormented. That's one level of representation that gets embedded into the architecture of the church. And another is geometric or numerological. And some of that's going on in the Clooney Church. It's a bit more abstract. And maybe not everybody gets that. In fact, the messages in ecclesiastical architecture were geared toward different audiences. There was the kind of humble peasant who doesn't know anything other than it's bad to be eaten by a devil. And there were the more highly educated people who would begin to understand these other levels. But this figuration is pretty surprising. And let us just for a moment compare it to the deriferous by Polyclitus, which is really one of the masterpieces of classical Greek architecture. You really can see a strong difference in the attitude toward the human body here. And if you can't, walk out of this room immediately. The deriferous is all about the ideality of the form, the ideality of the figure, the perfection. Beauty consists of many numbers. So not only is the deriferous this fully plastic figure turning with Contrapasto in space, but the proportions of the figure are emblematic of a kind of divine order. And we get this idea of the divine order again with Vitruvius, the Vitruvian man being reflective of the circle and the square. A very different thing is going on in this sculpture from Clooney. It's almost as if the human body has no existence in the space of the world, the space it occupies is an abstract, flattened space. It's almost as if the human body, instead of becoming this vehicle that communicates beauty and ideality, is some kind of burden, some kind of rotting carcass that one is forced to carry around. And that was a consistent attitude in the Middle Ages. For example, monks would plant gardens in the monasteries, and that was a typical thing to do, but they didn't plant flowers necessarily. They planted bitter herbs. They planted thorny bushes so that when you walked through the garden, the thorns would scratch your flesh and remind you to concentrate on spiritual matters and not to preoccupy yourself with the physical. Likewise, the bitter herbs would be revolting to eat, and that was part of the idea that you abnegate the flesh in the attempt of advancing the spirit. And these are just some more little carvings from various medieval churches. And you can see these kind of, I mean, they're sort of wonderful on one level, but they're very, very removed from the conception of the human being as someone free and liberated and exemplifying an ideal condition. This little guy seems to be trapped, trapped in the architecture or trapped in the space of the world. This little space alien likewise seems to be pathetic, seems to be pathetic. And I don't know what this guy is doing, but he's not a happy camper. A lot of things going on during the Middle Ages. And one thing that we touched on last time when we were discussing the architecture of Islam was this whole business of the Crusades, which a lot of the reason that they had the Crusades, well, there were a number of reasons that they had the Crusades, one had to do with the advance of Islam and this increasing pressure put on Byzantium, this seat of the Eastern Empire, by all the orange forces, which are the forces of Islam coming in there. Another was a desire to get penance, that if you perform this act of warfare for God, you will go to heaven more quickly. But another was actually economic, that you have the opportunity to raid a country and carry away the spoils of that country. So that would be something to do. And then you also had this problem of the second son or the third son, that in order to keep the estates intact in medieval Europe, you didn't divide them up among all the children, but the eldest child got the property and the other children had a few choices. One was to become a clergyman and the other was to become a soldier. And this is a good thing that soldiers can do. These are just some paths showing you the series of crusades that took place during this period that more or less correspond to the Romanesque period and the beginning of the Gothic period. You can see that there's quite a lot of movement from Central Europe and France coming down through the Mediterranean to the areas around Constantinople. One of the big things they did was lay siege to Jerusalem and captured Jerusalem, reclaim Jerusalem for the Christians, for example. Another thing they did was capture Constantinople. This was something the Venetians did. The Venetians were great boat builders and they had actually rented out their fleet to a crusade and then the crusade wasn't going to pay them. So the Venetians turned the fleet on Constantinople, filled it up with treasure and brought it back to Venice, which is a sort of bad thing to do because Constantinople, in fact, was a Christian city. So if the stated purpose of the crusades was to somehow spread Christianity and halt the advance of the Moors into Europe, laying siege to a Christian city was a surprising thing to do. Women took part in the crusades as well. Eleanor of Aquitaine rode in the second crusade. But at a certain point, people sort of get bored with the crusades. I'm not sure why that is. Let me say I would be bored with the crusades because it was not all positive. You were getting things like rats jumping on your boats when you were coming back from the crusades and docking in Pisa or docking in Venice and the rats that would jump off the boats would spread diseases like the Black Plague, for example. You also had Genghis Khan coming in from the east with the Mongols and that gave you too many things to think about. Also, you began to have a greater development of commerce just among European cities, of commerce, of trade, of the growth of the cities, the growth of metropolis. So anyhow, during this period, there was a lot of influx of new ideas, new wealth and other things. But let's look for a moment at the Romanesque, which goes through many manifestations. This little church in Spain is an example of an early manifestation of the Romanesque. And it's really tough. And by tough, I mean, it is an architecture that really defines itself in terms of the wall, in terms of these simple geometrical masses, in terms of these tiny little punched windows. The buildings almost look fortified. Some of the elements that you see here and that you see in a lot of these early churches are blind arcades. So you have this thing that looks like an arcade, but you can't actually occupy it up on the top and barrel-volted space on the interior of the churches. So they're simple, they're not giant things. They almost look more like fortresses than like churches. Here's another one, also in Spain, the San Viscenco. Barrel vault down the middle, really tough elemental geometrical masses. It's sort of beautiful stuff, actually, in its clarity, in its simplicity of form. And it was this kind of massing that was very appealing to architects in the 19th century, say, when they're trying to figure out how they could clarify the styles that they were dealing with, how they could make something that was less based on just collecting ornament together and more based on something more fundamental. We'll talk more about that next quarter, just remember the massing of these buildings. What do I mean by massing? Does anybody remember that word? Yes, it has to do with the solid of the exterior, but in what way? It's the basic photonic solids. It's the volumes that comprise the building. So when we talk about massing here, we're not talking about surface ornament. We're not talking about the plan. We're talking about how these different volumes go together to create an architecture. By the time we get to the pilgrimage churches, which we looked at briefly last time, the simple early Romanesque churches become elaborated and they become elaborated toward programmatic ends. The churches now have to accommodate large groups of pilgrims. They have to accommodate the circulation of these pilgrims through the church and around to venerate all these different little altars. So you get often double aisle or if not double aisle ambulatories that wrap the apps and radiating chapels at the perimeter. And so the form becomes more complex. The raw simplicity of the form of this first Romanesque moment becomes elaborated, but the attitude toward massing, toward simple geometrical forms that come up together to create a whole still obtains. And we look briefly at Clooney, which is just a fragment, but in its original state, it looks as though you could make it out of children's blocks almost. The massing is so clear. But let's look here at this facade of Saint-Foy that we looked at last time briefly. In what way does this facade seem Romanesque to you? Does anybody have a take? Yes. Okay, you have to use words if you want people to hear you, but I'll repeat what you said because I think the acoustics only work one way in this building. He said it's got a West Works, which is this big kind of inflated in scale billboard like facade that we have on the church, flanked by two towers, which is typical of the Romanesque. And we have a punched windows, small punched windows in here. What else do we have? Yes. Yeah, we have a rose window, which is a feature that is initiated during the Romanesque period and becomes very popular throughout. When we look at the plan, the cutaway axonometric, we can begin to see that this must be one of those little pilgrimage churches because we have our radiating chapels and so forth. And we have a barrel vault. This is Saint-Sanin in Toulouse. What kind of church does this seem to be? Does it seem to be a pilgrimage church, for example? Yes. It's similar to the Saint-Foy church that we looked at before, but a lot bigger in scale. It's a giant church with the same kind of composition of parts. We have a west work, we have a Latin cross plan, we have radiating chapels. And in terms of massing, you can really understand this thing as being assembled from kind of simple blocky constituent parts. So over here is just a little list of all the kinds of things we find in a church like Saint-Sanin in Toulouse, a Romanesque pilgrimage church. Latin cross plan. Does everybody know what a Latin cross is? Yes? Okay, it's a cross that's elongated on one side and shorter on the other sides. And why do you think it's elongated? For circulation and also for liturgical processions, that part of the way the rite is celebrated involves processions of people coming down the nave. So you need to have the longitudinal church. Good, we have aisles. Everybody know what aisles are? We have aisles in this room. I hope you know what aisles are. We have the nave, which is the broad expansive space in the middle, transept, radiating chapels. The choir is an area within a church that the monks can go to, to be separated from the laity. So here we have a choir, this little piece of program screened off from the ambulatory, stuck up here in the apps. We have a crossing. This point where the nave and the transept cross in Saint-Sanin get celebrated. And if you look at the three-dimensional expression of the building, it gets celebrated with a tower. In terms of the development of the superstructure of the building, the interior appearance of the roof, it's also sectionally differentiated. We see these heavy piers coming down and that marks extra structure needed to support the tower. Good, we have a crypt. You guys know what a crypt is? It's where zombies live, for example. Or a crypt is kind of the basement of the church and the crypt becomes a place where many of the important church figures or royal figures are buried. It might have a little chapel underneath there too. Crossing pier, what's a pier? Well, I'll tell you what a pier is. A pier is not a column. The column is fairly slender and a pier is composite. So we have the crossing coming down on these thickened elements. And if we could see what those thickened elements look like, and we can in this image here, they're not slender columns, but they're almost like pieces of a wall that have columns engaged in them and that's a pier. Portals, portals mean doors and bays. Does anybody know what a bay is? Yes. Well, an arcade would have bays, but an arcade is not a bay. Exactly right, it's the space between two pieces of structure. So in an arcade, you have a rhythm of columns coming down or a rhythm of piers coming down and the space between each of the structural elements is a bay. So we have various bays coming into play here. Here's a section through Saint-Sanin and even though this is a large church, it still has most of the elements that we expect to see in the section of a Romanesque pilgrimage church. Barrel vault, galleries up above, where you can circulate if you happen to be a monk, looking down at the rest of the church and these kind of stout piers that support the whole thing. This is Saint-Foix-en-Conc, which we've looked at before. Again, we have barrel vaults. We have a Latin cross plan. It's a basilica and we have a crossing that here too gets celebrated. I don't know how well you can see the dotted lines in there. I think pretty well there's an octagon that's imposed within the crossing there so that those lines represent the reflected ceiling plan. So something is happening up above that creates an octagonal space, probably some kind of octagonal dome stuck inside the crossing. And in fact, look, we can see it right over here. There's this little octagonal dome at the crossing to mark the importance of those two elements coming together. Also in Saint-Foix, we have this elaborate program of sculpture and this is a way that the church becomes a living Bible. You go there, you look at this stuff and it's the last judgment. So it's extremely hierarchical. The space of the tympanum of Saint-Foix is not a representational space of nature and tympanum is this field above the doors and it can be rounded like it is here in Saint-Foix. It could be triangular, it could have different shapes. So the tympanum is simply this half-circular space. It's really hierarchical, it's a banded space. The scale of people changes based on how significant they are in that order. So Christ is giant, people are small, sinners are smaller than angels. It's almost like Egypt. It's almost like the same strategy of representing here that we saw in ancient Egypt where hierarchy and heretic significance are stressed over any attempt to make a naturalistic representation of the world. And this is the tympanum of Saint-Foix and in the back this is what the radiating chapels look like. And I think Saint-Foix is so great looking because it's so simple and it's not a church in a major city like Saint-Sanin, which is in Toulouse, or Santiago de Compostelo, which is in Santiago de Compostelo. Because those churches are in major cities, they kind of got added on to, they kind of got transformed. And when you look at them, you don't get a very clear understanding of how they would have looked during the Romanesque period. But with Saint-Foix, you get a very clear sense of it. And here's the interior of Saint-Foix with its barrel vault. This is a church that has a slightly different expression in so far as the entire façade seems to be covered over with these blind arcades and that patterning begins to embellish the flatness of surface that we saw in some of the earlier Romanesque churches. But in terms of massing Notre-Dame Le Grand is doing exactly what we expect it to do. Really tough cylindrical towers, conical tops, and so forth. Beautiful, round, just as we would expect it to be. Simple massing. This is the cathedral in Durham, England, which has a lot of the same properties as these French Romanesque buildings that we were looking at. And Romanesque really proves to be an international style. We saw examples of it in Spain. We saw examples of it in France. We see examples of it in England. And this is quite different than how architecture operated, let's say, 500 years before or even 200 years before where regional styles tended to create great differences between the appearance of buildings in one country and another. So Europe is getting unified. And one of the things that unifies the architectural styles is the movements of the masons. You have stone cutters, master masons, carpenters as a skilled workforce and they're highly, highly desired. So unlike most people in the medieval period who were tied to the land, who were indentured to the land, futilely attached to the land that they were born on, the masons could travel. You probably heard the word freemason, but you probably not wondered, well, why are they free? And the origins of the word freemason simply means they were not tied to the land. They could move from one construction site to the other construction site because their skills were so valuable that they had that opportunity to move. So already in the Romanesque period, we're beginning to see buildings that are recognizable as Romanesque across Europe. There's a particular brand of Romanesque that happens in Germany. And that could be called, and it's pretty early, Autonian. And this architecture, the rulers of the Autonian Empire considered themselves to be direct heirs to Charlemagne and considered themselves to be holy Roman emperors in the same way that Charlemagne considered himself to be holy Roman emperor. This is Charlemagne's kingdom when it got divided up with the Treaty of Verdun into three parts. And this purple stuff over here is more or less the extent of Otto the Great's empire in 963. So it's still quite extensive, not quite as extensive as Charlemagne, but still quite extensive. So I'm just showing you the monastery at Saint-Gal to remind you of the kind of forms that the Autonians would have been looking at. This is a crummy drawing, but one thing you can see is that there's a basilica with a transept, but there's something weird about the church at Saint-Gal. Does anybody see anything weird about it? Yes. Well, it's a terrible drawing, is all that I can say. So if you wanna look at this drawing, this is a beautiful drawing, but it's completely impossible to read it. What I'm looking for is it has two abses. In the churches that we've been looking at, the early Christian churches that we've been looking at in Italy and also the pilgrimage churches that we've been looking at in France and Spain, there tends to be one abs. But at Saint-Gal, we have two abses. And so the church functions in a kind of different way because of that. Another model that Charlemagne would have looked at and through Charlemagne the Autonians would have looked at are the relics of Rome, of Roman civilization that are scattered around German territory. And this is the Aula Palatina, the late Roman building in northern Germany in the town of Trier. Severe looking thing, the big apps, lots of tough brick wall architecture with a banding of round headed arches, flat ceiling and transverse arches. Transverse arches are these planar surfaces with arches cut out that begin to march along through the space. This is the Speyer Cathedral, which is an example of a Autonian building. And the section or let's say the interior space of Speyer looks almost exactly like the interior space of the Aula Palatina. These long, arcuated surfaces and transverse arches and a flat ceiling. And here's another Autonian church, Saint Syriacus in Guernarod. What I really like about these Autonian churches is that they really seem even clearer in their geometry and their kind of severe play of volumes and massing than many of the others that we've looked at. And they also have this really strange quality, this kind of double-ended quality of the abscess pulling out in both directions. So this is Saint Syriacus. And over here we see two more churches, both of which look pretty similar, the Cathedral in Trier and the Speyer Cathedral. Fabulous. My favorite of all the Autonian churches and I think probably the one that's best preserved and gives you the clearest sense of how this architecture works is Saint Michael's Church in Hildesheim. This drawing over here begins to break Saint Michael's into all of its constituent parts so that you can begin to see everything that you expect to have in a Christian church only more so. And by that I mean you have a nave, you have aisles. Oh, two transepses, oh, two absces and a very, very clear disposition of parts. Notice in this section that this double abs begins to have sectional value and not simply planometric value. And that's because there's a crypt underneath the terminal abs, the easterly abs that becomes a place for burials and a place for small worship. Here's a interior view of Saint Michael's transverse arches, fabulous, marking out the space. Polychromatic stonework, kind of like the stonework that we saw in the palace chapel in Aachen, Charlemagne's chapel. So there's a lot of quotation of the architecture of the Carolingian period as well as quotation of the architecture of Rome. And we looked very, very briefly at Pisa last time but I wanna say one more thing about the architecture of Pisa. Because when we looked at it last time we said the massing is congruent with the aspirations of Romanesque architecture but the extremely elaborate surface articulation seems strange, it seems strangely out of place. And one reason for that could be that Pisa was a port city, Pisa had a fleet, Venice had a fleet, Pisa had a fleet and these were two places that ships came in and out of during the Crusades, ships came in and out of just for commercial value bringing silk back from the east or spices back from the east. So there was a strong influence of this pattern making and this screen making that we saw last time when we looked at Islamic architecture. Hence this screen making and pattern making becomes something that is agreeable to the taste of the people of Pisa and creates the façade. So geometry is not neutral. Geometry already back in the time of Plato, already back before Plato in the time of Pythagoras was thought to connect to cosmological meanings in a way that was readable, that was clear and was decipherable. And this is a medieval image of God, God the Geometer. So that God's method of creating the world is to use geometry. It's this sort of wonderful swirling chaotic unformed substance that through geometry is made orderly and divine. And just as an aside, this is a picture of a fractal that was created in 1985 by Benoit Mandelbrot. And it kind of looks like these swirling weird chaotic stuff that this medieval image maker had found to make. Geometry isn't simply descriptive of physical things on earth, but it's also descriptive of the shape of heaven and the structure of heaven. Thomas Aquinas was a philosopher of a way of thinking called scholasticism. And scholasticism offered a very highly structured model of how to organize your thoughts, how to organize all categories of information in a kind of matrix that made things understandable. I don't know if you've ever heard people ask the question how many angels can dance on the head of a pin? Is that something you've ever heard before? This is a famous question that Thomas Aquinas solved. He had enough rigor in his method of question asking to begin to even know that, which is unbelievable. So if you look at these two images, they're both images that represent the great chain of being, a belief that life was highly hierarchical and not simply life on earth, which is what this diagram shows you with peasants down here and knights over here and lords up here and the king here, but also going all the way up to the sky. Here's our poor little sleepy guy on earth. And they're all of these different hierarchical bands of angels and archangels and cherubim and seraphim. And finally you come to the glowing symbol of the trinity that holds them all together. But notice how even the planets are hierarchical. The moon is beneath Mercury, which is beneath Venus, which is beneath the sun. These people are not good at astronomy, but they are good at making sense out of things. For example, another thing that's pretty cool are these markings on the side over here. This side is pretty straightforward. Same, same, same, same, same. In terms of the geometry that organizes them. But over here on the side ratios are being made and these are golden ratios. So the relationship of the first mover to Saturn is in a golden ratio to Mars to the moon. But you probably all knew that already. Everybody knows that. I'm just illustrating this to show you how strongly hierarchical and how strongly structured the worldview was. During the medieval period, classrooms began to form in multiple ways. Within the large system of masons, you had a formalized apprentice master system and the masons would have to learn geometry, mathematics, but also Latin because you have these free masons traveling around from one city to another city to another city, they had to communicate with each other. They had to be able to read the lodge books. But in addition to that kind of practical teaching that was going on, you also had universities begin to form. The university in Bologna and Oxford and Cambridge all date to this period. There was a rise of a merchant class and there were rivalries among these different towns. As people traveled from one town to the next, they could see the condition of the different cities and they sought to best their neighbors by having a bigger cathedral, by having a more glorious decorative program inside their cathedral and so forth. And so as the cities become more and more prosperous, building starts happening faster and faster and faster. It's kind of funny, cities that are like 11 miles apart will each be building a giant cathedral. It's like Worthington trying to get a better cathedral than Westerville. Who will have the more magnificent cathedral so that people can travel around and be amazed by all of this? And so this moment of affluence and increased urbanization and record building cathedral construction campaigns is connected to the Gothic period. And you probably all know what the Gothic is. There are a couple of qualities that help us identify the Gothic. Things like black lipstick, black eyeliner and mascara, multiple piercings and so forth. But there are probably some other things also. If we think about Gothic architecture. And so I wanna introduce a couple more German words because nobody liked art history as much as the Germans during the early days of art history. The words here are zeitgeist and kunstvollen, zeitgeist. Does anybody know this word? You maybe heard it in 200. Anybody know it? Yes. The spirit of not the people. That would be volkgeist. This is zeitgeist. Yes. No, that would not. That would be orkgeist. Yes. Thank you. That would be the spirit of the times. Did you know that or do you just know German? Good for you. Knowing German is a good thing. Zeit means time and geist means spirit or ghost. So let's hope it means spirit in this case. So the spirit of the times. There was an idea that during any given historical period there are certain collectively held values and collectively held aspirations that can't necessarily even be tied to single individuals. They just well up and they can't be stopped. And so a subset of zeitgeist is kunstvollen. German speaker, you wanna take a stab at kunstvollen? Okay. Kunst is art, volen is to want. So kunstvollen is the will to art or the will of art to find its form. And these are terms that were thrown on around a lot by people like Hegel with idea of zeitgeist but also art historians who were directly influenced by him. And I'm thinking of a, I called Wolfgang, who wrote a book that is beginning to talk about the changes in style. And he's talking about Gothic. And he suggests that there is a zeitgeist. And part of the zeitgeist of the Gothic people is they just like things pointy. They can't get enough pointy stuff. And that sounds kind of crazy, but look at your shoes, look at your car, look at your glasses. They probably all kind of look alike. They're maybe not quite as pointy as this stuff but they probably have certain stylistic attributes that mark them as artifacts from this historical moment and not things that could be confused with something somebody in 1940 or 1830 or 1210 could have possibly had or even 1985 if you wanna bring it a little closer to the present, which is still far away. So the Gothic people like things pointy. And of course, you probably already have a hunch that one of the things they liked pointy was architecture, pointed arches are things that characterize the architecture of the Gothic period but Wolfgang would say, that's not it. They also like pointy shoes. So if you look at pictures of people wearing armor or armor displays, you'll often see the pointy shoe because they like things pointy. This is a section through a Gothic cathedral where you have the pointed roof, the pointed turrets, the pointed arches, the skeleton with his party hat on, they like it pointy. And who knows if that's true or not but it's a useful construct. Just as the idea of dialectic helps us understand relationships between things. If we begin to think about the notion of zeitgeist and kunstvollen, we can begin to see a shift from one style let's call it Romanesque to another style let's call it Gothic. And frequently these shifts are motivated by different cultural aspirations or a desire to represent different things. We already saw that when we looked at things like I don't know Greek temples versus Roman temples. The Greek temples had their relationship to a landscape that was quite different than the Roman temples relationship to the landscape. And a lot of that had to do with the fact that the Greek temple wanted to be connected to the pre-existing spirit of the place and make that visible, make that manifest. Whereas the Roman temple wanted to be a symbol of a civic order and had to embed itself within the fabric of a town in quite a different way. So this is just comparative sections between a Gothic church and a Romanesque church. You get a lot of benefits by making your church pointy. For example, the names here are more or less the same dimension. However, the height of the names is quite different and one reason the height of the names is quite different has to do with the fact that with the Gothic vaulting system it's possible to go higher. It's possible to go higher because, well you're going upward, you're not simply folding the arch down around itself. It's a thinner structure because the lateral forces are being translated more directly to the ground. So here we see a little section of a Gothic system. This is the Gothic system where the loads are constantly being moved outward. This is a little section of the pantheon which is a very thick chunk of wall where the loads have to be absorbed entirely within the mass of the wall. Notre-Dame Le Grand and Poitiers, we have a thinner envelope than we have at the pantheon. We don't have anything nearly as thin as this because we have not only pointed arches but we also have flying buttresses. And a flying buttress is simply something that takes the structure out of the body of the church and puts it perpendicular to the church. Kind of like the skeleton's arms. He's holding the thing up like this. So the wall of the church is quite thin. The mass is perpendicular rather than parallel to the line of the nave. And it does look funny to see the party skeleton here, I have to admit. However, it's possible to think of Gothic architecture as skeletal in structure. And skeletal because it's an architecture of ribs and columns rather than an architecture of surfaces. The Romanesque architecture, the stuff we've looked at like Notre-Dame Le Grand, barrel vaults, surfaces that translate down the length of the nave. The architecture of the Gothic, which we have not yet looked at thoroughly enough, is an architecture of ribs, an architecture of columns, an architecture of buttresses, an architecture of finials. Notice over here the party hat that the skeleton wears accomplishes two things. One, it succeeds in being pointy. And we know that everybody in the Gothic period loved pointiness, but it also adds more mass. And what you want to do is resist the lateral thrust so you need a certain amount of mass. And so this creation of a kind of vertical element to the buttress also has the benefit of putting more mass there and becoming a more kind of sound breezing mechanism.