[AfterHours]

Link

_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Michelangelo...

His artist page now features 24 rated works, more to yet be added

I added several updated images (ex: David, Pieta, Laurentian Library, St. Peter's, also those to all the newly added works...). The David and Pieta especially show a bit better the elements I take up in my analysis of them. For example, the Pieta images help illustrate the sensuousness and the bond between them, and the serenity in Jesus' face poetically balanced in and by hers. Or for example, the David now includes several variations of disposition, the "metamorphosis" of his face/emotion/psyche, and a difficult-to-find head-on direct photo of his face because this is currently blocked by a column in the museum and can't be seen this directly without a camera perched high enough in between in order to capture it.

Most extensive revision of images (including some added links, 360 panoramas, a link to further historical info...) has been St. Peter's (which I also updated the architect particulars in the title, fwiw). This included me going back through studies of St. Peter's fairly extensively and I am considering a rating upgrade. In regards visual art, it may be the greatest work of the Baroque (that isn't necessarily a new concept for me, just emphasizing that point here). Over all Arts, within the Baroque period, it was perhaps only surpassed by Bach's greatest masterpieces, perhaps one or two others (like Handel's Messiah) and maybe Vivaldi's Four Seasons. Part of what makes it astounding is it is both extravagantly "magniloquently" Baroque while also still measured and anchored to the (more measured) sublimity and refinement of the High Renaissance (so it is simultaneously very extravagant while, for the most part not going "overboard" -- remaining a sense of the "measured" and sublime -- because it fuses rather seamlessly these periods of architecture/design). The most profound aspect of it, probably, is Michelangelo's central Dome, which even in person looks rather unreal, "practically CGI" (an elevated separate reality/vision) due to how massive, its dramatic elevation, and the fusion of Renaissance/Baroque interior design, judicious beauty of color, how it seems to practically "float" anew extending from but yet above the main body of physical space. The High Renaissance-Mannerist-Baroque is additionally added in regards emotionality by Michelangelo's revisions to the overall design which fuses all the space to its central space (in other words, from most positions and views inside, adjacent spaces are "activated" by his plan both seamlessly, poetically and majestically, forcefully -- adjacent halls and chapels segue from others and the central space, always in view of and in extending of it (whereas earlier plans had these spaces more closed off, segregated). This also occurs from Maderno's Nave which, although a later addition to Michelangelo's plan, nevertheless maintains, extends, its emotionality and primary purpose or artistic integrity by employing it rather seamlessly to a Latin Cross from the earlier Greek cross, and extending, revealing, seguing its adjacent chapels in a similar "activated" way. Basically, this is High Renaissance/Mannerist architecture leading into the Baroque (more colorful, activated, vibrant, expressive).

Along with study of St. Peter's came an update to Bernini's page, where I've now added his two most significant sculptures from inside the Basilica: St Peter's Chair and the Baldachinno, each now rated separately with images and links on his page. I may go ahead and add some more of Bernini, other key works.

Along with a possible upgrade to St. Peter's rating (as architecture), I am still pondering a possible upgrade to Michelangelo's Pauline Chapel paintings duo, and now to his Pieta, the Sagrestia Nuova, possibly the Bacchus, possibly the Rondanini Pieta (which I already upgraded its ranking a little bit, still among the 7.3s).
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Michelangelo...

St Peter's Basilica now upgraded to 8.8/10 among the all time masterpieces (8.8+). The highest I've ever rated it was 9.4/10 which was also very early in my architecture ratings. This new upgrade to 8.8 could mean also an upgrade for some other architecture too between about 8 and above so look out for that (though not a promise). I added some more images and links, notably a photo gallery that includes exterior 360 panoramas, more images on its exterior back half (Vatican Gardens side) which are hard to come by because they are more rare to photograph, yet feature its most extraordinary exterior architecture leading up to its dome in its tension (like tendons, like the musculature of the body) of styles pushing and contrasting and fusing (simultaneously measured and almost violent; just as harmonious as it is "tense") amongst each other. Notably this is primarily the work of Michelangelo's revolutionary "Mannerist" and unique "sculptural" take on architecture, far less seen after the addition of Maderno's Nave and Facade and also just not being open to the public.

Conversion of Saul and Crucifixion of St Peter now upgraded to 8.4/10

I also added Michelangelo's controversial and much argued Risen Christ to his page (not an especially significant work of his imo, as it was partially messed with by others later even if it remains impressive technically and retains a degree of its meaning and emotional content anyways).

I also updated the images to his Moses in similar fashion as I had done for Pieta and the David.

There are still notable works I need to add, including in his earlier years (for example, he made less known contributions to one of the great works of Renaissance sculpture ensemble which I have yet to include). There is still more later sculptures, and architecture too. Etc.

____________

I also upgraded Sainte-Chappelle from 8.3 to 8.4 and am considering the possibility that it's even higher, perhaps 8.8+ (including its stained glass in the rating ... it is basically the culmination of Gothic art in this regard, sort of the "Sistine Chapel of Stained Glass art" and also the profoundly beautiful and "regal" chromatism of all its other colors, structure and symbolism filling out its interiors)

____________

On the top of the "Greatest" page I included a note on how I am rating architecture that may be of interest and particularly applies to works like St. Peter's that also feature a lot of sculpture, both "stand alone" (like the Pieta) and more primarily "decorative" or "structural". Hope the note clears things up and has no holes.

EKF if you're reading this, feel free to let me know if you feel I missed anything important in that explanation (on the "Greatest" page) and should include any further clarification, left something obvious out, etc.
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

EXPLANATION: WHAT IS THIS LOG??? Go here: https://www.besteveralbums.com/phpBB2/v...094#571094

For my criteria page, go here: http://www.besteveralbums.com/phpBB2/vi...hp?t=15503

To visit my Main lists, go here:
Greatest Classical Music Works: https://www.besteveralbums.com/phpBB2/v...hp?t=15098
Greatest Albums (Rock & Jazz): https://www.besteveralbums.com/phpBB2/v...hp?t=15276
Greatest Songs/Tracks/Movements: https://www.besteveralbums.com/forums/v...hp?t=15246
Greatest Films: https://www.besteveralbums.com/phpBB2/v...hp?t=15558
Greatest Paintings, Sculpture and Architecture: https://www.besteveralbums.com/phpBB2/v...hp?t=15560
Greatest Works of Art: https://www.besteveralbums.com/phpBB2/v...hp?t=16117

Various (in progress) genre lists, listed in order of how recently I've worked on them:
Greatest Literature: https://www.besteveralbums.com/phpBB2/v...617#691617
Best Comedy Films and Best Romantic and/or Sx Comedies: https://www.besteveralbums.com/phpBB2/v...446#684446
Best Teen and/or Coming of Age Films: https://www.besteveralbums.com/phpBB2/v...219#683219
Best Gangster and/or Hood Films: https://www.besteveralbums.com/phpBB2/v...513#682513
Best Action/Adventure and (Action/Adventure) Thriller Films: https://www.besteveralbums.com/phpBB2/v...108#674108
Best Editing/Structure in Film History: https://www.besteveralbums.com/phpBB2/v...443#667443
Best Visuals (Color) / Best Visuals (Black and White): https://www.besteveralbums.com/phpBB2/v...231#666231
Best Horror Films: https://www.besteveralbums.com/phpBB2/v...102#656102
Best Hip Hop/R & B/Soul/Funk Albums: https://www.besteveralbums.com/phpBB2/v...323#650323
Best Animated Films: https://www.besteveralbums.com/phpBB2/v...884#647884
Best Comic Book/Superhero Films: https://www.besteveralbums.com/phpBB2/v...189#646189

Bold = Newly added
Bold + Italics = Was already listed but recently upgraded/downgraded

Top 10+ Music, Movies, and Visual Art of the Week(s): 7-28-25 - 8-3-25
The Velvet Underground and Nico - The Velvet Underground (1966)
St. Peter's Basilica - Principal Architects: Donato Bramante (Original design and began construction of central Greek Cross plan: 1503 - 1514); Michelangelo Buonarroti (Revised plan and construction with updated Greek Cross design heavily informing the final result less the later addition of Maderno's Nave and Facade; revision and main design of the central Dome: 1546 - 1564); Carlo Maderno (Revised to Latin Cross plan with addition of central Nave; addition of Facade: 1603 - 1629); Gian Lorenzo Bernini (Revision of St. Peter's Square, addition of Colonnade: 1656 - 1667) (Building completed and opened by 1626; various revisions and additions thereafter) / Vatican City, Rome, Italy [Architecture, including Structural Sculpture]
Hagia Sophia - Directed by Byzantine Emperor Justinian I; Designed by Isidore of Miletus and Anthemius of Tralles (Current Main Structure: 532 - 537; various changes, additions thereafter) [Architecture, including Mosaics]
Notre-Dame de Paris - Main construction principally directed under Bishop Maurice de Sully (1163 - 1260, main construction; various additions, updates, restorations thereafter; reconstruction of fleche and roof from fire damages: 2019 - 2024) / Parvis Notre-Dame – Place Jean-Paul-II, Paris, France [Architecture, including Stained Glass and Structural Sculpture]
Batalha Monastery - Afonso Domingues (1388 - 1402); Huguet (1402 - 1438 in which several Flamboyant Gothic elements were added; changed architects posthumously, continued construction, revisions, additions through completion circa 1517) / Batalha, Portugal [Architecture, including Stained Glass and Structural Sculpture]
Mont-Saint-Michel Abbey - William of Volpiano (1060-1523) / Manche, Normandy, France [Architecture]
Chartres Cathedral - Master of Chartres (Anonymous French Architect) (Mostly constructed 1194-1220; Completed 1252; Various modifications and additions thereafter) / Chartres, France [Architecture, including Stained Glass and Structural Sculpture]
Sagrada Família - Antoni Gaudí (Gaudi: 1883 - 1926, unfinished; Still under construction) / Barcelona, Catalonia, Spain [Architecture, including Stained Glass and Structural Sculpture]
Milan Cathedral - Begun by Simone da Orsenigo; Several architects thereafter (Originally: 1386; several developments through 1965) [Architecture and Sculpture]
Cologne Cathedral - Master Gerhard of Ryle (1248 - 1560, construction led by various architects after 1271; construction halted in 1560; resumed and completed 1842 - 1880) / Cologne, Germany [Architecture, including Stained Glass and Structural Sculpture]
Ulm Minster - Principal Design and Architect: Heinrich Parler (1387 - 1391; continued construction and modification thereafter over centuries; first major construction phase: 1377 - 1543; further construction, modifications thereafter until 1890) [Architecture, including Stained Glass and Structural Sculpture]
Basilica of Saint-Denis - Abbot Suger (Principal Architect, Main Construction including the Gothic innovations: 1135 - 1144; key Nave and Transept additions thereafter, mainly 1230 - 1280 with modifications thereafter) / Saint-Denis, France [Architecture, including Stained Glass and Structural Sculpture]
Reims Cathedral - Jean d'Orbais (Principal Architect: 1210 - 1228; additional architects, construction, modifications thereafter with the main phase of construction from 1211 - 1275; further modifications through 1345, High Gothic, Rayonnant Style) / Reims, France [Architecture, including Stained Glass and Structural Sculpture]
Laocoön and His Sons - Unknown Artist; suggested Athanadoros, Hagesandros, or Polydoros of Rhodes (circa 200 BC - 70 AD) / Vatican Museum, Vatican City, Rome, Italy [Sculpture]
Seville Cathedral - Alonso Martinez (Lead Architect of Main Structure, peak building period of: 1401 - 1506; after main structure completion, there were several variations and additions across centuries, each main period as follows: Main Gothic structure: 1401 - 1528; Renaissance additions/revisions: 1528 - 1593; Baroque additions/revisions: 1618 - 1758; Academic additions/revisions: 1758 - 1823; Gothic Revival additions/revisions: 1825 - 1928) / Seville, Andalusia, Spain [Architecture, including Stained Glass and Structural Sculpture]

Top 10+ Albums/Movies/Visual Art for the Week(s) - Rated 6.7/10 or Below

Top 10+ SONGS/TRACKS for the Week(s)

FAMILIAR ROCK/JAZZ ALBUMS - RE-RATED:

NEWLY LISTENED - ROCK/JAZZ ALBUMS - RATED:

NEWLY LISTENED - CLASSICAL WORKS - RATED:

FAMILIAR CLASSICAL RECORDED PERFORMANCES - RE-RATED:

NEWLY LISTENED - CLASSICAL RECORDED PERFORMANCES - RATED:

FAMILIAR SONGS/TRACKS/MOVEMENTS - RE-RATED:

NEWLY LISTENED - SONGS/TRACKS/MOVEMENTS - RATED:

FAMILIAR FILMS - RE-RATED:

NEWLY WATCHED FILMS - RATED:

FAMILIAR PAINTINGS/VISUAL ART - RE-RATED:
Hagia Sophia - Directed by Byzantine Emperor Justinian I; Designed by Isidore of Miletus and Anthemius of Tralles (Current Main Structure: 532 - 537; various changes, additions thereafter) [Architecture and Mosaics] Not Rated to 7.9/10; 7.9/10 to 8.0/10; 8.0/10 to 8.2/10
Notre-Dame de Paris - Main construction principally directed under Bishop Maurice de Sully (1163 - 1260, main construction; various additions, updates, restorations thereafter; reconstruction of fleche and roof from fire damages: 2019 - 2024) / Parvis Notre-Dame – Place Jean-Paul-II, Paris, France [Architecture, including Stained Glass and Structural Sculpture] Not Rated to 8.0/10
Chartres Cathedral - Master of Chartres (Anonymous French Architect) (Mostly constructed 1194-1220; Completed 1252; Various modifications and additions thereafter) / Chartres, France [Architecture, including Stained Glass and Structural Sculpture] 7.7/10 to 7.9/10; 7.9/10 to 8.0/10; 8.0/10 to 7.9/10
Batalha Monastery - Afonso Domingues (1388 - 1402); Huguet (1402 - 1438 in which several Flamboyant Gothic elements were added; changed architects posthumously, continued construction, revisions, additions through completion circa 1517) / Batalha, Portugal [Architecture, including Stained Glass and Structural Sculpture] Not Rated to 7.8/10
Milan Cathedral - Begun by Simone da Orsenigo; Several architects thereafter (Originally: 1386; several developments through 1965) [Architecture and Sculpture] 7.7/10 to 7.8/10
Ulm Minster - Principal Design and Architect: Heinrich Parler (1387 - 1391; continued construction and modification thereafter over centuries; first major construction phase: 1377 - 1543; further construction, modifications thereafter until 1890) [Architecture, including Stained Glass and Structural Sculpture] Not Rated to 7.5/10; 7.5/10 to 7.6/10
Basilica of Saint-Denis - Abbot Suger (Principal Architect, Main Construction including the Gothic innovations: 1135 - 1144; key Nave and Transept additions thereafter, mainly 1230 - 1280, with further modifications thereafter) / Saint-Denis, France [Architecture, including Stained Glass and Structural Sculpture] Not Rated to 7.5/10; 7.5/10 to 7.6/10
Dome of the Rock - Abd al-Malik ibn Marwan (circa 685-692) / Jerusalem, Israel [Architecture] 7.4/10 to 7.5/10
Reims Cathedral - Jean d'Orbais (Principal Architect: 1210 - 1228; additional architects, construction, modifications thereafter with the main phase of construction from 1211 - 1275; further modifications through 1345, High Gothic, Rayonnant Style) / Reims, France [Architecture, including Stained Glass and Structural Sculpture] Not Rated to 7.5/10
Seville Cathedral - Alonso Martinez (Lead Architect of Main Structure, peak building period of: 1401 - 1506; after main structure completion, there were several variations and additions across centuries, each main period as follows: Main Gothic structure: 1401 - 1528; Renaissance additions/revisions: 1528 - 1593; Baroque additions/revisions: 1618 - 1758; Academic additions/revisions: 1758 - 1823; Gothic Revival additions/revisions: 1825 - 1928) / Seville, Andalusia, Spain [Architecture and Structural Sculpture] 8.0/10 to 7.3/10
Laocoön and His Sons - Unknown Artist; suggested Athanadoros, Hagesandros, or Polydoros of Rhodes (circa 200 BC - 70 AD) / Vatican Museum, Vatican City, Rome, Italy [Sculpture] Not Rated to 7.3/10

NEWLY VIEWED PAINTINGS/VISUAL ART - RATED:

FAMILIAR LITERATURE - RE-RATED:

NEWLY READ LITERATURE - RATED:

Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10
Not Rated to /10


/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10
/10 to /10

TOP 50 WORKS OF ART OF THE YEAR (2024 and 2025)
Sistine Chapel: Ceiling and The Last Judgment - Michelangelo Buonarroti (1512; 1541)
Rock Bottom - Robert Wyatt (1974)
St. Peter's Basilica - Principal Architects: Donato Bramante (Original design and began construction of central Greek Cross plan: 1503 - 1514); Michelangelo Buonarroti (Revised plan and construction with updated Greek Cross design heavily informing the final result less the later addition of Maderno's Nave and Facade; revision and main design of the central Dome: 1546 - 1564); Carlo Maderno (Revised to Latin Cross plan with addition of central Nave; addition of Facade: 1603 - 1629); Gian Lorenzo Bernini (Revision of St. Peter's Square, addition of Colonnade: 1656 - 1667) (Building completed and opened by 1626; various additions thereafter) / Vatican City, Rome, Italy [Architecture and Structural Sculpture]
Piano Sonata No. 21 in B-flat Major - Franz Schubert (1828)
Pauline Chapel: The Conversion of Saul and The Crucifixion of St. Peter - Michelangelo Buonarroti (1545; 1550)
The Doors - The Doors (1966)
A Love Supreme - John Coltrane (1964)
The Velvet Underground and Nico - The Velvet Underground (1966)
Angkor Wat - Started by Suryavarman II; Completed by Jayavarman VII (circa 1122 - 1150; Note: there are various anomalies that may suggest an earlier date of construction -- perhaps even much earlier) [Architecture]
Guernica - Pablo Picasso (1937)
Are You Experienced? - Jimi Hendrix (1967)
Desertshore - Nico (1970)
Spiderland - Slint (1991)
Vertigo - Alfred Hitchcock (1958)
Alhambra - Muhammad I Ibn al-Ahmar; later additions overseen by Yusuf I and Muhammad V - Granada, Spain (initial structure: 1250; several alterations thereafter through the 1600s) [Architecture]
Kailasa Temple - King Krishna I (circa 773) [Architecture and Sculpture]
Piano Sonata No. 20 in A Major - Franz Schubert (1828)
Pieta - Michelangelo Buonarroti (1499) [Sculpture]
La Fabrica - Ricardo Bofill (1973 - 2022) / Sant Just Desvern, Catalonia, Spain [Architecture]
Golden Gate Bridge - Joseph Strauss - San Francisco, California (1937) [Architecture]
Sainte-Chapelle - Jean de Chelles or Thomas de Cormont (1248) / Paris, France [Architecture]
David - Michelangelo Buonarroti (1504) [Sculpture]
The Beethoven Frieze - Gustav Klimt (1902)
Fresh Fruit For Rotting Vegetables - Dead Kennedy's (1980)
The Triumph of Death - Pieter Bruegel the Elder (circa 1562) / Museo del Prado, Madrid, Spain [Painting]
St. Matthew Cycle: The Calling of St. Matthew; The Inspiration of St. Matthew; The Martyrdom of St. Matthew - Michelangelo Caravaggio (1599 - 1600; 1602) / Contarelli Chapel, San Luigi dei Francesi, Rome, Italy [Painting]
Borobudur - Gunadharma (circa 842?) [Architecture]
Bringing it all Back Home - Bob Dylan (1965)
Thriller - Michael Jackson (1982)
Florence Cathedral - Arnolfo di Cambio (1294-1302); Giotto (Bell Tower: 1334-1337); Filippo Brunelleschi (Dome: 1420-1436) (Completed 1436; Emilio De Fabris, Marble Facade: 1887) [Architecture]
In the Aeroplane Over the Sea - Neutral Milk Hotel (1997)
Metamorphose de Narcisse - Salvador Dali (1937) / Tate Modern, London, England [Painting]
Imam Mosque - Ali Akbar Isfahani (1611 - 1629) [aka, Shah Mosque] / Naqsh-e Jahan Square, Esfahan, Isfahan Province, Iran [Architecture]
Mont-Saint-Michel Abbey - William of Volpiano (1060-1523) / Manche, Normandy, France [Architecture]
The Seven Heavenly Palaces 2004-2015 - Anselm Kiefer (2004 - 2015) / Pirelli HangarBicocca, Milan, Italy [Art Installation, Sculpture, Painting]
Lloyd's Building - Richard Rogers (1986) / London, England [Architecture]
The Ecstasy of Saint Teresa - Gian Lorenzo Bernini (1652) [Sculpture, Architecture and Painting]
Stata Center - Frank Gehry (2001 - 2004) / Cambridge, Massachusetts, USA [Architecture]
Cleveland Clinic Lou Ruvo Center for Brain Health - Frank Gehry (2007 - 2010) / Las Vegas, Nevada, USA [Architecture]
Saint-Nicolas Church - Walter Maria Förderer (1971) / Heremence, Switzerland [Architecture]
Death and the Maiden - Egon Schiele (1915) [Painting]
The Black Saint & The Sinner Lady - Charles Mingus (1963)
Neu! - Neu! (1971)
The Veiled Christ - Giuseppe Sanmartino (1753) / Cappella Sansevero, Naples, Italy [Sculpture]
The Starry Night - Vincent van Gogh (1889) [Painting]
Europe After The Rain II - Max Ernst (1942)
Taj Mahal - Ustad Ahmad Lahauri (1653) [Architecture]
Medici Chapel: The Sagrestia Nuova - Michelangelo Buonarroti (1555) [Sculpture and Architecture]
Potala Palace - Lozano Gyatso (5th Dalai Llama; 1694)
Lady of the Mirrors - Anthony Davis (1980)
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Working on some architecture again...

I finally added Hagia Sophia to my list -- a very long time coming, could never decide on a rating. Funny thing is, I added it, then very rapidly, um, changed the rating 3 times over! Now among the highest rated architecture.

I also re-familiarized myself with Gaudi's Sagrada Familia (and will probably soon start working on some other key works of his career). I almost went ahead and upgraded Sagrada to 8.3 maybe 8.4, but (so far) held back on it because I'm just not sure (and also have some hesitancy with moving it at all at this time, because it's unfinished and might just wait until it's finished, which will supposedly be 2026). I have long been back and forth on this work (it's been everywhere between 7.5s to 8.8+ over the years). Gaudi is very difficult to rate (I doubt I'm the only one who feels this way), as his works, particularly Sagrada, walk a very fine line between strange or even "cartoonish" or "naive" (even grotesque) and "beautiful/severe/serious" art (which can be curious where one is dealing with a Church and its religious themes) -- one might say, with Sagrada, between Gothic and Modern/Art Nouveau (this is not necessarily a "problem" -- it's always interesting, it just makes it something of a challenge to grasp more fixedly, substantively, and concertedly of its components in the aim thereof, as regards emotively, conceptually...). No matter what, it's flowing, cascading, peaking and organic "nature" and "Art Nouveau" forms are pretty arresting and culminate rather arrestingly in its facades, its exterior spires/peaks, and in the geometric centralization of "trees" in the interior, combined with the rainbow lighting from varying angles.

I then went coocoo for cocoa puffs and immersed myself in some of the greats of Gothic architecture (Chartres, St Denis, Notre Dame Paris, Amiens, Milan Duomo...) just to take yet another crack at polishing up these ratings only to come back out of it a bit exhausted, and with no new decisions on these (Notre Dame, St Denis, long remain un-rated; I have been all over the place on the others over the years...). Managing the differentials in development and nuances in quality between these is truly a task and never easy and not something I wholeheartedly recommend unless you're insane -- um, I mean, "dedicated" -- and somehow think things like finding the "0.1 decimal point" between each of them is "important" Maybe I'll just wait a decade for Scaruffi's architecture ratings and plagiarize him on these ones

I do hope to get some ratings updates for these, depending on how much I want to test my endurance with Gothic architecture.

A few results on this are worth noting, joking aside: I downgraded Seville Cathedral to 7.3 (seems "correct" at this time but this is absolutely not "final"). As a note, it is especially difficult to rate something that is such a huge spectacle in relation to, say, Munch's Scream or a Van Gogh painting, or... even something like the Laurentian Library (so different). Not that I "directly" compare it to these, but one has to be more careful to "track with" the emotional sensation of it over a much longer period (while traversing in person or, if necessary, online virtual tour, looking over the entire work as one goes) and try to take into account the "average impact" of this that whole time and how it impacted him/her "as a whole". If there are several repetitive (or just less impacting) spaces, this can add qualitative peaks and dips and nuance that I try to account for and sum up as an average combined with, in relation to, "extent" of the impact in my rating. The point being, that a massive work like Seville Cathedral feels almost ridiculous to rate next to, the Laocoon or all the other much smaller 7.3s, and its sheer monumentality can make the rating "seem higher" (and perhaps it is; it was just an 8.0 after all up until yesterday!). But the "truth" lies in the proof of going through it as physically, as three dimensionally, as possible, and looking over each part. The difference with a work like Scream is that, obviously it has way less "content" to "be impacted by" but also has the advantage of every inch of said content being intense and impactful, of every spastic, smeared, "bloody", "screaming" line, stroke, being filled with anxiety and emotional outcry and tense and extraordinary. So trying to compare that with something much more monumental and variable is always the toughest task in rating (for me at least), a bit like trying to compare, say, The Doors' When the Music's Over track with Beethoven's Missa Solemnis or some other huge multi-hour choral work -- something like that. Very tough to do. I guess basically I'm saying "I understand" your dilemma if you've attempted something like this, have given up or if you look at some of these ratings/rankings and are left scratching your head. I takes a lot of insani-- um, I mean, "dedication" -- to work on something like this and determinations between such a monumental work and a very different small scale work are the least finite, always potentially subject to change even if I try to rate/rank them with confidence at the given time that I do...

Additionally I added to the Chartres page an extensive "Geometric Analysis" with link. This is probably for nerds only and isn't especially necessary to appreciating the work (by which I mean, actually "knowing" these things in all their construction and detail "mathematically"). But it is among the most impressive elements is how unified and sober the whole composition is, exterior and interior, all its lines, verticality, having a fundamental bearing in and sense of sacred geometry and convergence to them. One doesn't need to have an intricate understanding of advanced math, geometry, engineering to appreciate this as a main point, I don't think (in other words, I am including the analysis but it isn't particularly necessary to understand in all its details, I don't think). But in just knowing about it and looking for it, one can simply get a good sense of this in the real world look over the work itself by just looking at the work from this angle and following its columns and ceilings and ascents upwards and in centrality, and can sort of follow this with one's eye to get a good sense of it.

More importantly, I have also added (to the Chartres page) a god-send for architectural studies and appreciation, completely in line with my "exhaustion" point mentioned above in regards determining the nuances between Gothic works. And that is a very thorough (with lots of comparisons in pictures and a boatload of info) multi-part studies of "Evolution of the Church Facade" and "Evolution of the Church floor plan" -- both starting from early AD periods up to modern works. This is VERY useful in getting a grasp on the developments of Church architecture and is something one can return to over and over if this is a point of interest and where trying to rate them. I have currently only added these to the Chartres page but obviously they should either be added to all artist pages where Church architecture is featured, or more likely, I will probably move them over to the "Greatest" page itself, or maybe a separate page for "general" studies like this that I'll link to from that page.

______________

Sculpture...

I finally added the seminal Laocoon, 7.3. Perhaps the greatest of Greek sculptures, it is very important to Renaissance Sculpture and, eventually, Mannerist/Baroque. Influence on Michelangelo and probably informed, to some degree, his Last Judgement fresco (the writhing, twisting of bodies, particularly lower half). One can of course see how both influenced the Baroque, sculpture and painting.

I have been also working on polishing up some evals of Donatello (perhaps the 2nd greatest sculptor after Michelangelo?), works like Judith and Holofernes, Penitent Mary Magdalene, and so on, and I am hoping to come up with some new ratings for these in the near future.

Still want to add some more Michelangelo sculpture to his artist page, and more architecture he was involved with...

_______________

Paintings...

Not necessarily "done" with these, I don't think... My overwhelming experience in particular with re-evaluating and upgrading St. Peter's Basilica has simply veered me over to architecture again... and then dealing with the Michelangelo updates led me onto some sculpture as well... I may try to intersperse this with some paintings I still want to do (like Titian, finish up at least the main entry on Pozzo, etc)
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Gothic Architecture...

Mostly revisiting Gothic Churches/Cathedrals, something I've long held back on posting the results of (as in, the ratings/rankings) with certain ones and between some of them because it takes several revisits, closely pouring over them, to determine silly things like:

Which is superior (in rating/ranking) Reims or Amiens? Have you ever tried to determine this?

Do you want to drive yourself insane!?!?

Its almost impossible!! And how the hell did I draw the conclusion (so far) that Notre Dame Paris is above both of them, despite being smaller "less monumental" and "less intricate/elaborate" -- seemingly "less expressiveness" -- on the exterior besides that?? What am I thinking? Or Chartres (even less so in those facets) for that matter? General (not a detailed) answer (keeping in mind, these ratings are still being worked and re-worked so may not stick) lies in Notre Dames jaw dropping elegance and perfection of form/composition exterior/interior where there is basically no "wasted" or "extranneous" space (these are exaggerating terms, I wouldn't actually go far as to say Reims or Ameins "waste" or have "extranneous" space; I simply mean they kind of do in comparison to more "efficient" earlier "monumental" works; their increase in space is awe-inspiring in one sense but also didn't necessarily get used to increase "content" -- merely a larger expression of practically the same vision -- there are of course more nuanced differences, I am just speaking in general). The monumentality, verticality was elevated even more by Amiens, Reims than, for example Chartres, or their closer brother/sister Notre Dame Paris. But nevertheless there is a perfection and stunning efficiency and symmetry of composition those have that later more monumentally spatial works tend to lose some of (to a comparable degree) in their increase of space. So in an interior sense when one is stationed inside Chartres or Notre Dame there is a more "efficient" more visually "dense" convergence of verticality, crossing/transept, altar, choir, stained glass and this produces a greater "simultaneity" of impact (in concert with this, Chartres and Notre Dame are two of the greatest examples of stained glass of the period; Chartres with a very special "blue-ish" and regal light and kaleidoscopic color that pierces through plus most of its stained glass is still the originals; Notre Dame in its overwhelming yet very elegant and perfectly composed multitude, the size and intricate design of especially the Rose windows, and so on). So from each of its main stations, positioning oneself in each of its main parts, viewing from this, plus peripherally, one will realize the perfection of its geometry and composition and how each part part unifies in its spiritual expression somewhat more than in these later, yet more monumental works where these features are more spaced out from each other, "segregated", and the same cohesiveness of impact doesn't quite occur even if an extensive and more monumental arrangement does). Not to mention with Chartres the generally more original/unique exterior facades (architecturally an arch-type and never really replicated expressively except in general construction and order), the purity of plan (and structure), the very unified exterior and interior (geometrically, compositionally, ... the only "assymetry" being its south tower being differently styled later than its north, but even this is, imo, probably more compelling than if they were twinned as it showcases the next advancement in style reaching upward from a cathedral that has perfected the prior in all ways interior and exterior). But for Notre Dame de Paris we are looking at the supreme elegance of its design, the "musicality" or "poetry" of its forms (reaching a new monumentality like never previously, but also before the yet further increase in mass and space of Reims, then Amiens ... and Notre Dame manages to do so while maintaining a very supreme elegance, a supreme "musicality" or even a certain "femininity" in the details and in its design where it takes additional shape from its stricter forms, and in the tracery and elegance of forms combined flawlessly with the "masculinity" of its strength of its innovative buttresses and towering pillars and being the earliest to be of such monumental scale (even though Riems was completed faster, increasingly said scale, Notre Dame Paris was already designed and the main form structured earlier, and was a foundational template to follow, expand from).

As a note the supreme convergence of "masculinity" and "femininity" is itself a very important facet of key French architecture (Eiffel Tower is all about this). With Eiffel Tower one is basically looking at the exact convergence of this very "Parisian" and very "Romantic" convergence of expressions. A duality in flawless mergings of form, of tracery, of design. One could go as far as saying that it is monumental and "phallic" in its massive thrust and reach and form to the sky while its lower half is increasingly spread out into more or less "vulvic" forms and its tracery and elegance is increasingly "feminine" (neither of these meant as or being expressed in a vulgar or grotesque way at all, but actually very poetically and elegantly, very much these dualities in beautiful solidarity, just the perfect representation of the "feminine" merging with the "masculine" in architecture, a very French, very Paris, very ideal representation of the emotional core and atmosphere of the culture). And of course it is built by the very "masculine" and rather unyielding strength of iron that is yet being merged and bent and composed balletically, musically, very elegantly, into musical form from unyielding forms and into traceries, graceful shapes, and so forth.

Anyway, Notre Dame de Paris is very much about supreme balance of poetic beauty, grace, elegance with the monumentality, strength and formality of its composition, structure (for instance its front facade a series of staunch squares, yet balanced by elegant and judicious tracery and other details like the Rose window, retaining a certain elegance before the more elaborate and congested expressivity of the facades of, say, Amiens or Reims, both impressive in their ways in their own right).

That's the general idea... way more could be detailed but basically Notre Dame finds a more perfect elegance between the monumentality and sheer strength that became the calling card and while still retaining supreme and judicious (not so extravagant) intimacy and poetry and beauty all the same. Not to mention its extraordinary sculptures along its roof exterior (the grotesques and what-not). Chartres, not so much about the same sort of "feminine" elegance but certainly peaks with its mastery of composition (maybe the supreme Gothic example of the efficiency between space and expression from any station, all consuming convergence especially as one moves through the Nave closer and closer to the Altar), the perfection of its form and alignment of all its parts (arguably no wasted, extranneous space), and this unification becomes pretty overwhelming in impact as one moves through it, never being truly imitated (besides the general plan being so influential and informing much French architecture; most of them tend to lose some efficiency in the effort to become more and more monumental and "out-do" each other). Chartres may also be the next greatest Gothic example of Stained Glass (or Notre Dame Paris?) after the peak which is certainly Saint-Chappelle, and Chartres stained glass from each angle (nave, transepts, centered and culminated by the altar, choir) converging is very much a part of what I am referencing (the hues and light coming through, different throughout the day of course, and its brilliant and rather unique and still original stained glass very much included in the convergence and in its Gothic purity, sincerity, transcendance of spiritual expression).

So, as predicted, many of these are separated by mere nuances, and by a mere decimal point or few. This is crazy work to determine! Good luck if you are silly enough to work it out similarly!

Recent additions/changes (or potential)

Notre Dame de Paris added as 8.0
Chartres re-upgraded to 8.0
Mont-Saint-Michel remains at 7.9 but it did seem to out-do even Chartres when I poured back over it last so it could see an upgrade. Its supreme purity (of both Norman and Gothic -- literally no "magniloquence", no "bombast", very "purely" itself, "purely" spiritual, very close to the original spirit of these forms) becomes more overwhelming the more one looks back over it. It may have the greatest composition and exterior form and pure beauty (also in harmonious relation, ingenuity, to its environment) of any Christian church in existence. The composition, structural escalation and spread of its parts, not just seamlessly segues from Norman to Gothic, but extraordinarily, miraculously, is built upon and follows upward, schematically, and in undulation, the hilly, mountainous, escalation and not-so-level landscape it rests upon, and the more one traverses it, scales it, also looks over it aerially (such as the panoramas on its page) the more compelling, the more impressive how it is structured and the more "meaning" the traversal and path and segueing compositional development becomes, taking on the "spiritual path" upward in unification to its physical journey; where also its town plan upward to the Abbey and Cathedral follows in class, stage, level, and spirituality and how the whole island is compositionally structured, layered, the journey upward from its town and community to more and more religious structure and a very pure (again, no bombast) and solemn and personal relationship with God culminating up to its Cathedral, altar and so on... its fortification, its defense structure (from incoming enemy), its segregation from and above all (later in extensive use as a prison) and of solemnity and a pure recovery of spirituality, only further serves the expressed sense of the inward search, of the inner path from the fallen to the risen and to be absolved of sin, to find this in architectural expression that is not expressing such entirely openly or ecstatically, bombastically, magniloquently but "inwardly", more or less in "quietude" to oneself while also stretching across and upward in monumental scope, formal/structural development across vast space; what takes place is the sense of a vast yet internal quest of oneself in relation to its incredible surroundings -- including its airy spaces looking back out into the vast expanse, vistas, from the island -- this sense back into oneself and to or with God more and more towards the top... The structure from its foundation upwards seems to be physically emerging, arising, directly from the grounds, from the earth of the island, miraculously risen and merged to it, an architectural marvel, virtually hewn to and from the surface as a miraculous monument extending directly and visibly segueing from out of its mountainous island top and sprawling around, across, its top-ward edges and top-ward circumference... (probably also symbolizing Resurrection)
Milan Duomo upgraded from 7.7 to 7.8 (maybe 7.9). Very special with its pink-ish marble facade and roof and vibrant profusion of spires, tracery, sculptures, and the supreme example of its flawlessly composed, breathtaking and very imposing interior (some of the greatest most prominent Gothic pillars of any Church, plus the supremely aligned -- visually, geometrically, compositionally -- monumentality of all its structure -- from the ascendant marble facade, to the very imposing, ascendant pillars and all parts of the interior through the nave up to the altar, to the climactic verticality topped off at the roof seeming to extend into its yet more "heavenly (marble) vision" from the interior, perhaps its profusion of pillars and sculpture and chapels and space, now ascending to the sheer profusion of spires and detail on its roof).
Cologne 7.7 (was 7.6 for a day, but upgraded it this morning)
Ulm 7.5 possibly 7.6
Saint-Denis (very innovative inroduction of Gothic) 7.5 possibly 7.6
Reims and Amiens both 7.5 (may change ... hard to decide which is "better"; Reims is slightly more original probably, while Amiens is more monumental... how does one choose, I've been going through each multiple times recently to note down all the differences and help with any decision, not sure I'm any more certain in the long run )
Gloucester 7.3, possibly 7.4 (for a moment I had it at 7.6 but then went back over it and changed my mind) ... either way, the "regal" archery forms (long bow influence) and the "Fan vault" tracery (especially Cloister) are remarkable
Seville 7.3, may re-upgrade to 7.4 or so

Others coming...
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Tweaking ratings, mainly Gothic

(Note: sorry for the -- as per usual -- "messy", borderline incoherent tangent of a post above! I'm usually typing while on my way to something else, in a rush, or whatever... my life... )

Mont-Saint-Michel now just above Chartres, still 7.9
Chartres back to 7.9 from 8.0
Batalha Monastery added at 7.8 (strongly considering 7.9 or so, potentially right around, perhaps above, Chartres/Mont-Saint)
Cologne upgraded again to 7.8
Ulm upgraded 7.5 to 7.6
Saint-Denis upgraded 7.5 to 7.6
Dome of the Rock upgraded 7.4 to 7.5
Still "pointlessly" baffling myself between Amiens and Reims, and whether or not one or both should possibly be upgraded

In other words, driving myself crazy over here

This progression through (mostly) Gothic architecture is also making me re-think some other ratings of both sculpture (in comparison) and other more modern architecture in comparison, which may result in some changes, upgrades/downgrades (probably none too major, but by a decimal or few). It's making me re-think, polish up, what it takes (for a work of architecture) to be a 7.8, 7.9, at each various echelon. Also making me take another look at some of the highest ones, to double check their accuracy in comparison... (ex: if an 8.8 is double the impact/depth, conceptually, emotionally, creatively, of a 7.8, then it follows that...etc) ... Doing my best to be accurate (in comparison among all too) but more than likely there are more stages of this to come just like with all arts/genres I make my way through... Regardless, a lot of these will probably always be "educated/close estimates" no matter how many times I look back over them, so keep that in mind with architecture -- especially those that have retained damage (up to and including Angkor Wat, but especially something like the Parthenon which is something like 1/2 of what it used to be and one can at best "reconstruct" it, compare to the Nashville one, and so on...) ...anyway, one can probably never be that sure of these due to that and other factors; also that it's just impossible to visit most of them among other things one needs to do in life, unless you're Scaruffi and have never slept, can read Dante simultaneous to walking through and evaluating a work of architecture while simultaneously further evaluating paintings on your Iphone, plus have a telepathic doppleganger off elsewhere doing another half of the work for you
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Further notes/updates...

I've updated the Chartres Cathedral page to include even more links, 360 panoramas, videos, descriptions/analysis... Could spend a long time studying/evaluating this work, as I have (wishing you luck...) -- seminal to Gothic Architecture, its advancement and among its innovative pinnacles, in its influential verticality/windows/triforium, sculpted portals, facade, the perfection and alignment and early monumentality of all converging... so very useful to get a good grip on Chartres in ones evaluation of Gothic architecture as it was developing and as a key precursor to others... it also retains a certain purity of and (perhaps) "ideal" (in efficiency, for instance) of Gothic expression while also serving the aims of later (added) monumentality/verticality (without losing or moving beyond said "purity" of the form). It could be argued to find an ideal balance between the inward and profound more contemplative search and spirituality of the earlier inclinations of the genre (as it segued from Romanesque), and in the enhanced light/transcendence of the windows, still maintaining its essence and purity while also advancing into the next stage of monumentality and verticality (balancing both "sides", all inclinations, equally, in space, composition, expression).

I also found and added an incredible virtual tour (highest picture quality) of Mont-Saint-Michel. Prepare to be humbled. The picture quality is amazing, can even alternate between day light and evening light. As a note, a while back I added one from the same person/website for Saint-Chappelle, which is also the best I've ever seen. Likely the best in the business...

Added 360 panoramas to Basilica of Sacred Heart (Brussels) that I hadn't found before (because it's differently titled, also sometimes only in its native language...). Considering re-upgrading this by the way a point or two (was once as high as 7.7). Notice how amazing its' art deco and compositional symmetry is (the sense of line, compositional unity, the unison of all its parts). This goes all the way back to Gothic architecture of course as well, but it is just awesome to see in this extraordinary work as well, Art Deco in a Church with such monumentality and verticality and quite amazing symmetrical convergence bottom to top, side to side, interior in relation to the extra monumental and dramatic, imposing exterior.

I also added more 360 panoramas/virtual tours, videos, to Reims, Amiens (very HQ) and others... I make updates to these pages pretty consistently, especially worth following up on when I am mid evaluating a certain genre, or when you see me including works on my Top 10+ log -- because I will often drop into those pages and update the links, panoramas, virtual tours, whenever they can be found or improved and are worth including, as part of re-evaluating/revisiting them.
_________________
Best Classical
Best Films
Best Paintings