The Cathedral of St. Mark came as a result of changes in Venice’s trading status in the tenth century. Constantinople had granted merchants the ability to control commerce between the east and west, increasing the wealth of the city (Stokstad and Cothren). Construction was expensive and with a monetary influx the Doge of Venice’s requests for a church to replace the palace chapel were granted. The building was inspired by Byzantine domed churches and would house the relics of St. Mark the apostle like the palace chapel had previously. The victories from iconophiles in 843 prompted the subject matter for many Byzantine art pieces. Images of Christ, angels, miracles, and other biblical symbols decorated the interior. The Cathedral of St.Mark’s main attraction includes golden ornamentation alongside panels of mosaics depicting stories from the New Testament. Pictures within the church aided individuals who were not literate, images allowed them to visually “read” the stories of the Bible and follow along through sermons. Other architectural features include a Greek Cross layout and the use of domes, each separated by barrel vaults and supported by pendentives (Stokstad and Cothren). 

The Benedictine Church of San Clemente was built on the remains of a Roman sanctuary of Mithras. The building displays an emphasis on masonry like most of the architecture built in the Romanesque style. Stone was favorable for its durability and strength over time but also the acoustic qualities it provided. The stone’s echo was deemed appropriate for Gregorian chants. However, stone also symbolized a sense of permanence and intimidation. As discussed in Inside the Medieval Mind: Power, the accumulation of these structures’ location, materials, and layout served to remind townspeople of their positions within society. The Romanesque style is evident in the building’s use of Roman spolia from the previous existing church’s to create the church’s columns. The church’s main attraction includes the mosaics that decorate the apse. The style of these mosaics move away from realism and instead adopt ornamental patterns and designs and emphasize symmetry and repetition (Stokstad and Cothren). This can be seen in the middle row of 12 sheep meant to represent the apostles and two stags positioned at the bottom of the cross. There is a continued desire to return to the classics because they believed the simplicity of the past was better and closer to purity than the advancements of the future. 

Reims Cathedral was built after the previous church burned in fire causing local townspeople to voice their desires for a new church in its place. Five master masons, Jean d’Orbais, Jean le Loup, Gaucher de Reims, Bernard de Soissons, and Robert de Coucy, worked throughout the years to complete the building over its century of construction (Stockstad and Cothren). The church was the coronation church for the kings of France which can be seen in the building’s rebuild in the Gothic style. The extended nave is believed to be reference to the procession during the coronation ceremony (Stockstad and Cothren). It was important for royalty to have these complex and intimidating structures as part of the crown to reinforce their right to divine rule.  Stained-glass windows also highlight the importance of the church’s royal audience and recent influx in wealth. The illuminated windows also play on a major characteristic of Gothic architecture, the importance of light. Light was believed to be a physical manifestation of God. The images of the stained-glass brought congregations closer to the heavens literally and metaphorically. Each panel displayed a segment to a larger story allowing audiences who were illiterate to follow along with passages during sermon. The ethereal quality of the windows is also seen in the building’s grand height, reinforcing the power and dominance of the church (Gand). Reims Cathedral also incorporates sculpture throughout its exterior. Figures can be seen depicting the Annunciation, where archangel Gabriel announces to Mary that she will birth Jesus (Stockstand and Cothren). The bodies are stylized with elongated bodies, graceful mannerism, and small heads, all characteristics of Gothic art. Gothic architecture signifies a big migration away from the simplicity and subtlety of previous styles. Humble appreciations of God are now seen as weak while expressive and lavish displays are seen as holy.