Architecture
Writing in the early 20th century, T. E. Lawrence, popularly known as Lawrence of Arabia, remarked that Krak des Chevaliers was "perhaps the best preserved and most wholly admirable castle in the world, forms a fitting commentary on any account of the Crusading buildings of Syria". Castles in Europe provided lordly accommodation for their owners and were centres of administration; in the Levant the need for defence was paramount and was reflected in castle design. Kennedy suggests that "The castle scientifically designed as a fighting machine surely reached its apogee in great buildings like Margat and Crac des Chevaliers."
Krak des Chevaliers can be classified both as a spur castle, due to its site, and after the 13th-century expansion a fully developed concentric castle. It was similar in size and layout to Vadum Jacob, a Crusader castle built in the late 1170s. Margat has also been cited as Krak des Chevaliers' sister castle. The main building material at Krak des Chevaliers was limestone; the ashlar facing is so fine that the mortar is barely noticeable. Outside the castle's entrance was a "walled suburb" known as a burgus, although no trace of it remains. To the south of the outer ward was a triangular outwork and the Crusaders may have intended to build stone walls and towers around it. It is unknown how it was defended at the time of the 1271 siege, though it has been suggested it was surrounded by a timber palisade. South of the castle the spur on which it stands is connected to the next hill, so that siege engines can approach on level ground. The inner defences are strongest at this point, with a cluster of towers connected by a thick wall.
Read more about this topic: Krak Des Chevaliers
Famous quotes containing the word architecture:
“Art is a jealous mistress, and, if a man have a genius for painting, poetry, music, architecture or philosophy, he makes a bad husband and an ill provider.”
—Ralph Waldo Emerson (1803–1882)
“In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, High-Tech architecture is, of course, no different in spirit—if totally different in form—from all the romantic architecture of the past.”
—Dan Cruickshank (b. 1949)
“For it is not metres, but a metre-making argument, that makes a poem,—a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”
—Ralph Waldo Emerson (1803–1882)