Comparison With Other Vault Designs
The construction of a groin vault can be understood most simply by visualising two barrel vault sections at right angles merging to form a squarish unit. The resulting four ribs convey the stress loading to the four corners, or piers. The more complex groin vault is intrinsically a stronger design compared to the barrel vault, since the barrel vault structure must rest on long walls creating less stable lateral stress, whereas the groin vault design can direct stresses almost purely vertically on the piers. A common association of vaulting in cathedrals of the Middle Ages involves a nave of barrel vault design with transepts of groined vaulting. Rib vaults resemble groin vaults but introduce structural ribs running along the angles which carry much of the weight, making possible much greater variations of proportion.
Read more about this topic: Groin Vault
Famous quotes containing the words comparison with, comparison, vault and/or designs:
“Intolerance respecting other people’s religion is toleration itself in comparison with intolerance respecting other people’s art.”
—Wallace Stevens (1879–1955)
“I have travelled a good deal in Concord; and everywhere, in shops, and offices, and fields, the inhabitants have appeared to me to be doing penance in a thousand remarkable ways.... The twelve labors of Hercules were trifling in comparison with those which my neighbors have undertaken; for they were only twelve, and had an end; but I could never see that these men slew or captured any monster or finished any labor.”
—Henry David Thoreau (1817–1862)
“Howl, howl, howl! O, you are men of stones!
Had I your tongues and eyes, I’d use them so
That heaven’s vault should crack. She’s gone forever.
I know when one is dead and when one lives;
She’s dead as earth.”
—William Shakespeare (1564–1616)
“He began therefore to invest the fortress of my heart by a circumvallation of distant bows and respectful looks; he then entrenched his forces in the deep caution of never uttering an unguarded word or syllable. His designs being yet covered, he played off from several quarters a large battery of compliments. But here he found a repulse from the enemy by an absolute rejection of such fulsome praise, and this forced him back again close into his former trenches.”
—Sarah Fielding (1710–1768)