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Ages,
Chapter
18
The Age of the Great Cathedrals:
Gothic Art
Gothic Art
FrenchGothicArchitecture&ArchitecturalDecoration
AbbotSugerandSaintDenis
AbbotSuger:righthandmanofLouisVIandVII/duringSecondCrusadewasregentofFrance/rebuiltFrances
royalchurchSaintDenis
SaintDenis(Benedictineabbeychurch):CarolinigianbasilicawasFrancesroyalchurchsymbolofmonarchy/
housedSt.DenistombandthoseofFrenchkings
AbbotSugerbegantorebuildin1135erectednewwestfaadewithsculpturedportals/114044addednew
choir,ambulatoryandradiatingchapels
Early
Gothic
RemodelednaveofSaintDenis
SaintDenis:KeyMonumentofEarlyGothicSculpture
Sugerssculptureforwestsideof
abbeydidnotsurviveFrench
Revolution
Mid12thcenturystructureintact
Haddoubletowerwestwork/massivewallsinRomanesque
tradition/restoredlargerosewindow(newfeaturethatbecame
standardinFrenchGothicarchitecture/threeportalswith
statuesofOldtestamentkings,queensandprophetsattachedto
columns
Figure 18-2 Plan of the east end, abbey
church, Saint-Denis, France, 11401144 (after
Sumner Crosby).
HallmarksofNewFrenchGothicStyleatSaintDenis
HallmarksofNewFrenchGothicstyleappears:ribvaultsonpointedarchescoveringambulatory
andchapelsthesevaultsenablebuilderstoeliminatewalls,openspaceandaddstainedglass
windows
SugercalledthecoloredlightcomingthroughthesacredstainedglassLUXNOVA(newlight)
EarlyGothicLaonCathedral,France(begun1190)
TypicalGothicfeaturesonwestfaade:
Hugecentralrosewindow,deepporchesin
frontofdoorways,openstructureoftowers
Deeperpenetrationofwallmass
Operatingprinciple(Gothicstyle):
Reducesheermassandreplaceitwith
intricatelyframedvoids
RetainedmanyRomanesquefeaturesindesignandcombinedthemwithribvaultsrestingonpointedarches
Romanesquefeatures:navebayswithlargesexpartiteribvaults,flankedbytwosmallgroinvaultedsquaresineachaisle
Newfeature:TRIFORIUM(bandofarcadesbelowtheclerestorywindows)/usedbecausehaddesiretobreakupandeliminateall
continuouswallsurfaces
Nowsee4PARTnaveelevation:
navearcade,vaultedgallery,triforium,clerestorywithsingleLANCETwindows(tall,narrowwindowsendinginpointedarches)
Alsoemployedalternatesupportsystem(Romanesque)innavearcadewithcompoundpiersalternatingwithsimplepiers
Laon
Cathedral/
Early
Gothic
Gothicarchitects
wantedtocreatea
unifiedinterior
spacethatswept
uninterruptedfrom
easttowest/moved
awayfrom
compartmentalized
spaces
Figure 18-8
Interior of
Laon
Cathedral
(view facing
northeast),
Laon, France, 9
NaveElevationComparisonforEarly/HighGothicCathedrals
144ft.
Heightofnavevaults
107ft.
118ft.
80ft.
Figure 18-9 Nave elevations of four French Gothic cathedrals at the same scale (after Louis
Grodecki):
(a) Laon, (b) Paris, (c) Chartres, (d) Amiens.
10
Early/HighGothicNotreDame,France(begun1163,remodeledafter1225)
1130LouisVImovedofficialresidencetoPariswhichcausedmorecommercialactivityandabuildingboom
NewCathedralnecessary=NotreDameofParislocatedonislandinSeineRivercalledIledelaCite
ReplacedalargeMerovingianbasilica/sexpartitevaultscovernave/4storynaveelevationinplaceof
triforiumisstainedglassOCULI(smallroundwindows)belowclerestorylancets
Figure 18-10 Notre-Dame (view from the south), Paris, France, begun 1163; nave and flying buttresses, ca.
11801200; remodeled after 1225.
11
NotreDameParis,France
Twooffourstoriesinnaveelevationfilledbywindows=thinnerandtallerwalls=needforexternalsupport
UnknownarchitectintroducedFLYINGBUTTRESSES(exteriorarchesthatspringfromthelowerroofsover
theaislesandambulatoryandcountertheoutwardthrustofthenavevaults)
FLYING
BUTTRESSES:
Important
element
contributingto
thedistinctive
lookofGothic
Cathedrals
EarlyGothicBeginningsChartresCathedral,France(begun 1134)
Buildinghistoriesofurbanchurchesoften
extendedoverdecadesandsometimesover
centuries
Financingdependedlargelyoncollections
andpubliccontributions(notalways
voluntary)andlackoffundsinterrupted
buildingprogramsasdidwars,plagues,
etc.=notfinishingchurchesforyears
ChartresCathedralconstructionstarted
in1134duringtheEarlyGothicperiodand
wasdestroyedbyfirein1194whichledto
reconstructionintheHighGothicstyle
13
RoyalPortalChartresCathedral(EarlyGothic,1145)
Statuecolumnsofkingsandqueensflankthe3doorways/episodesofChristslifearecarvedonthecolumncapitalsandforma
frieze/linkfromoneentrancetothenext/mostcompleteandimpressivesurvivingensembleofEarlyGothicsculpture
RightPortal:archivoltsdepict7femaleLiberalArtsandtheirmalecompanions(figuresrepresentcoreofmedievallearningand
symbolizehumanknowledgewhichwasbelievedtoleadtotruefaith)/inthetympanum,ChristappearsinlapofVirginMary(like
ByzantineTheotokosandRomanesqueThroneofWisdom)
CultoftheVirginMaryreachedahighpointintheGothicage/theseverityofRomanesquethemesstressingtheLastJudgment
yieldedtothegentlenessofGothicart,inwhichMaryisthekindlyQueenofHeaven
LeftPortal:ChristsAscensionintoHeaven/archivoltshavesignsofzodiacandscenesrepresentingvariouslaborsofmonthsofyear=
symbolsofcosmicandearthlyworlds
CentralPortal:SecondComing(LastJudgmenttheme)stillimportant/Themebecameasymbolofsalvationratherthandamnation
Figure 18-5 Royal Portal, west facade, Chartres Cathedral, Chartres, France, ca. 11451155.
14
ChartresRoyalPortalOldTestamentkingsandqueens
OldTestamentkingsandqueensareconsideredroyalancestorsofChrist/thesecharacterssupporttheNewTestamentfiguresabove
thedoorways/theywear12thcenturyclothesandareregardedasimagesofkingsandqueensofFrance=symbolsofsecularaswellas
ofbiblicalauthority
Romanesque:linearfoldsingarmentsandelongatedproportions
Gothicfiguresare
attachedtocolumns/
Classicalstatues
(caryatids)replacedthe
columns
Statuesdisplayfirstsigns
ofanewnaturalism/they
have3Dvolume/human
faces(notmasks)which
personalize/individualize
theportraits
15
HighGothicPlanChartresCathedral(rebuilt1194)
Architecturalhistorians
considerthepost1194
ChartresCathedralthefirst
HighGothicbuilding
Incorporatedtheoldcrypt
andwestfaadeinthenew
building
Newkindoforganizationin
plan:RECTANGULARBAYS
flankedbyonesinglesquarein
eachaisleratherthantwo,no
alternatesupportsystem,
vaultshad4partsnot6=nave
lookslikeonecontinuoushall
Plannedfrombeginningwith
flyingbuttresseswhichmade
possibletheeliminationofthe
tribune/gallery
Tripartite(3)naveelevation:
arcade,triforiumand
clerestorywithenlarged
windows(doublelancets
crownedbyasingleoculus)
PorchoftheConfessorsHighGothicSpiritSculpturesofNewChartres
13thCenturyGothicSculpture=Second
Classicalrevolution
Statuesofsaintsonportaljambsaremore
independentfromthearchitectural
framework
GreatchangesinGothicsculptureseen:
RightFigure1815Architecturalsetting
doesnotdetermineposesthesaintsappear
tobecommunicatingwithoneanother,turn
slightlytowardandawayfromeachother
Draperyfoldsarenotstifffabricsoftly
fallsandlapsoverthebodies
Faceshaveindividualizedfeaturesand
distinctivepersonalities
LeftFigure1816Theodoreasideal
Christianknight(Gothiccrusader)/clothed
incrusaderattire/headturnedtoleft,hipto
rightbodysswayrecallsClassicalGreek
statuarycontrappostostance
StainedGlassMysticalLuxNova
UseofstainedglassinGothicperiod:itdoesnotconceal
walls,butreplacesthem/transmitslightratherthan
reflectinglight
Twotypesofstonewindowframesintowhichglasswasset:
platetraceryandbartracery
OurLadyoftheBeautifulWindowtallsinglelancet/
survivedfireof1194/centralsectiondepictingVirginMary
enthronedwithChristChildinherlapisoriginalfrom
1170/framingangelsagainstbluebackgroundadded13 th
century
GothicandByzantinebuildersusedlighttotransformthe
materialworldintothespiritual,butinoppositeways
(discussthedifference)
18
ChartresRoseWindowAGiftFromtheQueenofFrance
Rosewindow=approx.43ft.indiameter/
bartracery/centerofroseisenthroned
VirginandChild/aroundherare4dovesof
theHolySpiritand8angels/squarepanels
containimagesofOldTestamentkings
Royalmotifs=yellowcastlesand
fleursdelis
Lancets=St.AnneandbabyVirginin
centerflankedby4ofChristsOld
Testamentancestors
ColorSymbolismofthetime:Blue=
heaven,Red=Passion,White=Purity,
Green=Fertility,Yellow=PresenceofGod
19
HighGothicAmiensCathedral,France(begun1220)
Architects:RobertdeLuzarches,Thomas
andRenauddeCormont
Beganconstruction1220/navecompleted
1236/radiatingchapelsby1247/choirby
approx.1270
UsescompleteHighGothicstructural
vocabulary:
rectangularbays/4partribvault/
buttressingsystem/noalternatesupport
system,onlycompoundpiers
Conceptofaselfsustainingskeletal
architecturereachedfullmaturitywith
Amiens/noneedforheavymassesorthick
weightbearingwallsbecauseofbuttressing
system
Figure 18-17 ROBERT DE LUZARCHES,
THOMAS DE CORMONT, and RENAUD DE
CORMONT, interior of Amiens Cathedral (view
facing east), Amiens, France, begun 1220.
20
AmiensCathedralQuestforHeight
Navevaultheightis144ft.
3partnaveelevation:
navearcade,triforiumandclerestorywith
greaternumberandcomplexityoflancet
windows
Thestructurehasalightappearanceeven
thoughitisstonearchitecture(becauseof
increasednumberofwindowsandbroken
spaces)
AmiensistheGothiccounterparttothe
ByzantineHagiaSophia
21
AmiensCathedral
HighGothicFacade
PortalssimilartoLaon
Upperpartmorecomplex:
deeperpiercingofwallsandtowers/
coveredwithnetworkofcolonnettes,
arches,pinnacles,rosettesandother
decorativestonework
Sculptureextendstotheareasabovethe
portals/bandofstatuesbelowrose
windowiscalledkingsgallery
Towerswereaddedin14thand15th
centuries
22
AmiensCathedralTrumeauBeauDieu(BeautifulGod)
FullymodeledfigureofChrist
Massivedraperyfolds
Standsfreelyandis
independentofits
architecturalsetting
Architecturalcanopyover
figureshead
Hedoesnotstrikefearinto
sinners,insteadheblesses
thosewhoenterthechurch
andtramplesalionand
dragonsymbolizingevilforces
intheworld
ThisimageofChristgives
humankindhopeinsalvation
Figure 18-20 Christ (Beau Dieu),
trumeau statue of central doorway,
west facade, Amiens Cathedral,
Amiens, France, ca. 12201235.
23
HighGothicReimsCathedral,France(begun1225)
Everydetailisstretchedonthefaade:
Kingsgalleryisaboverosewindow/
figuresaretallerandinmoreornateframes
Openingsintowersandleftandrightof
rosewindowaretallerandnarrowerand
moreintricatelydecorated
Pinnaclesovertheportalsaretallerand
moreelaborate
Moststriking:tympanumsoverdoorways
arestainedglasswindowsinsteadofstone
reliefsculptures
24
ReimsCathedralJambStatuesConverse
BiblicalnarrativeVisitation:St.Elizabeth
visitingtheVirginMarybeforethebirthof
Jesus/subjectiscelebratingMaryslife=
importantinGothicperiod
Sculptorshrankthesupportingcolumnsso
theywouldnotinterferewiththemovementof
thefigures
Figuresdepictedinclassicalnaturalisticstyle/
theartistprobablystudiedactualclassical
statuaryinFrance/faceslooklikeRoman
portraits/Greekcontrappostoposture/
dramatic(deeplycarved)draperyfoldswith
kneespressingthrough/armsinmotionas
theyconversethroughgesture
PartofaseriesofstatuescelebratingMarys
life/hercentralroleinGothiciconography
Figure 18-22 Visitation, jamb statues of
central doorway, west facade, Reims
Cathedral, Reims, France, ca. 1230.
25
HighGothicSainteChapelle
Rayonnant(Radiant)Style
BuiltbyLouisIX(124348)
LouisIXroyalpatronbehindParisian
CourtStyle
LouisIXinheritedthroneatage12/mother,
BlancheofCastileservedasFrancesregent
untilhereachedadulthood/declaredasaint
afterdeath/unitedbestqualitiesinhis
person:Christianknight(losthislifein
serviceoftheChurch),benevolentmonarch
andholyman/Hebecamethemodelof
medievalChristiankingship/duringhis
reigntheartandarchitectureofFrancewas
admiredandimitatedthroughoutEurope
SEEADDITIONALPOWERPOINTFOR
DETAILSONSAINTECHAPELLE
CourtStyleofLouisIX
VirginofParisLateGothic
LateGothic(early14thcentury)manneredelegance
LocatedinParisianCathedralofNotreDame
Maryportrayedasworldlyqueen/royalgarmentand
gemencrustedcrown/ChristChildasinfantprince
Humanisticstylemoreofaplayfulinteractionbetween
thetwofigures
Scurve=exaggeratedswayoftheVirginsbody
TheScurvehadnothingtodowiththestructureofthe
body(likeGreekstatuary)butwasadecorativedeviceto
producethedesiredeffectofELEGANCE
Figure 18-24 Virgin and Child (Virgin of Paris), NotreDame, Paris, France, early fourteenth century.
27
LateGothicSaintMaclou,France(begun1500)
FlamboyantStyle
FlamboyantStylenamedfortheflamelikeappearance
ofitspointedbartracery/beganin14thcenturybut
maturedin15thcentury
NormandyisrichinFlamboyantarchitecture/itscapital
RouenhousestheSaintMaclouCathedral
SaintMacloutinyinsize(75ft.high,180ft.long)
Faadeisunique:5portals(twoareblind)whicharebent
outwardinanarc/ornategablescrowndoorwayspierced
throughandfilledwithflickeringFlamboyanttracery
madeupofcurvesandcountercurvesthatforma
decorativewebandmasksthebuildingsstructure/
throughthepinnaclesyoucanseetherosewindowand
flyingbuttresses/overlappingofallfeaturesanda
complexityofviewsishallmarkofFlamboyantstyle
FamousGothicFortifiedTownCarcassonneinS.France
CarcassonnefortifiedsinceRomantimes
GothicAge:alsosawbuildingofsecularstructures(townhalls,palaces,privateresidences)
Feudalbaronsconstructedfortifiedcastleswiththickdefensivewallcircuits(ramparts)enclosingtheentiretown/
battlements(lowparapets/walls)withcrenellations(composedofalternatingsolidmerlonsandopencrenels)
protectedguardspatrollingthestoneringsurroundingthetown/hadkeep(asecuretowerthatcouldserveasa
placeoflastrefuge/hadCathedralofSaintNazaire(right)
Figure 18-26 Aerial view of the fortified town of Carcassonne, France. Bastions and towers,
12th13th centuries, restored by Eugne Viollet-le-Duc in the 19th century.
29
NewClassofWealthyMerchantsFrench
traderandfinancierJacquesCoeur/exampleofLate
Gothicarchitectureandamonumentalsymbolofthe
periodsnewsecularspirit/arrangedaroundcourtyard,
serviceareasongroundlevel,officesandfamilyliving
upperlevel/faadehaslargesectionwithstainedglass,
Flamboyanttracery,twodoorways(pedestrianand
horse/carriage)/twofalsewindowswithservantstatues
lookingdownonpassingpeople
GuildHallgrowthofsecularizationin
urbanlife/builtforclothmakersofBruges/
showsimportantroleartisansandmerchants
hadinGothicsociety/loftytowerwasintended
tocompeteforattentionandprestigewith
towersofcitycathedrals
LuxuryArtsLateGothic
Popularamongwealthywerestatuettesofsacredfigures/
purchasedeitherforprivatedevotionorasgiftstochurches/
VirginMaryfavorsubjectreflectingherprominence
Costlystatuette(silvergiltandenamel):VirginofJeanne
dEvreux(queenofCharlesIVdonatedthisimagetoSaint
Denis)
Marystandsonbasedecoratedwithenamelscenesof
ChristsPassion
Playfulinteractionoffigures/MaryasQueenofHeaven
(oncewearingacrown)/Marysswayingposture/heavy
draperyfolds=acontemporaryversionofVirginofParis
Servesasareliquary(sceptercontainedhairsbelievedto
comefromMaryshead)
31
BookIlluminationHigh/LateGothic
ParisIntellectualCenterofGothicEurope
Parisrenownedcenterforproductionoffine
books
GothicPeriod:bookmanufactureshiftedfrom
monasticscriptoriatourbanworkshopsstaffedby
laypersons/theseGothicshopsweretheforerunners
ofmodernpublishinghouses
LouisIXwasavidbookcollector/hismother
BlancheofCastilecommissionedthismoralized
Bibleforherteenageson
Dedicationpage:LouisandBlancheenthroned
beneathtriplelobedarchesandminiature
cityscapes(likearchitecturalcanopiesoverheadsof
statuesinFrenchcathedralportals)/beloware
monkandscribe(showingGothicbookproduction)/
goldenbackgroundverycostly
Inspirationforpagedesign=Gothicstainedglass
windows(ChartresandSainteChapelle)
Figure 18-31 Blanche of Castile, Louis IX,
and two monks, dedication page (folio 8
recto) of a moralized Bible, from Paris,
France, 12261234. Ink, tempera, and gold
leaf on vellum, 1 3 X 10 1/2. Pierpont
Morgan Library, New York.
32
SameUrbanWorkshopsProduceBothGlassandBooks
PsalterofSt.Louisproducedbyartists
associatedwiththosewhomadestainedglassfor
hisSainteChapelle
Backgoundarchitecturalsettingresemblesroyal
buildingssuchasSainteChapelle/figures
depictedinelegantRayonnantcourtstyleof
architecturefavoredbyroyalParis/intensecolors
emulateglass/bordersresembleglasspartitioned
byleading/gablesandrosewindowwithbar
tracery=standardRayonnantarchitectural
features
Subject:Abrahamwith3angels(prefiguresthe
ChristianTrinity)/twoepisodesdepictedonsame
pageseparatedbytree(greetingandentertaining)
Parisiancourtstyle:elegantproportions,facial
expressions,theatricalgestures,swayingposes
33
MasterHonorepioneerednaturalisminfigurepainting
Honoreilluminatedabreviary(bookofselectedprayers
andpsalms)forPhilippeleBel
TwoOldTestamentscenesinvolvingDavid:upper,
SamuelanointsyouthfulDavid/bottom,KingSaullookson
asDavidpreparestohurlhisslingshotatthegiantGoliath
(whoalreadytouchesthewoundonhisforehead),then
DavidisshownslayingGoliathwithsword
TypicalParisiancourtstyleshown:lineartreatmentof
hair,figuresdelicatehandsandgestures,elegantswaying
postures
Honoreadds:aninterestingivingfiguressculptural
volumeandshowingplayoflightontheirbodies/not
concernedwithlocatingfiguresinspace(feetoverlap
borders)
34
JeanPucelleBelleville
Breviary
Subject:DavidandSaul
Placedhisfullymodeledfiguresin3D
architecturalsettingsrenderingconvincing
perspective(3/4viewofSaulonthrone)
PucellemayhavevisitedItalyandwas
influencedbyDuccioswork
Renderingofbirds,dragonfly,butterfly,
monkey,etc.inbordershowsinterestinclose
observationofnaturalworld
Pucellesnameandnameofassistantsappearat
endofbookalongwithpaymenttheyreceived
(wasaprofessionalguildmemberandwaslikea
brandnamewhichguaranteedqualityoftheir
work)
ThecenturiesoldmonopolyoftheChristian
Churchinbookproductionhadended
Figure 18-34 JEAN PUCELLE, David
before Saul, folio 24 verso of the Belleville
Breviary, from Paris, France, ca. 1325. Ink
and tempera on vellum, 9 1/2 X 6 3/4.
Bibliothque Nationale, Paris.
35
GothicOutsideofFranceENGLAND
SalisburyCathedral,
England(begun1220)
SeeSeparate
PowerPointfor
detailed
information
Figure 18-37
Salisbury Cathedral,
Salisbury, England,
12201258; west
facade completed 1265;
spire ca. 13201330.
36
SalisburyCathedral
SeeSeparatePowerPoint
fordetailedinformation
37
LateGothicGloucesterCathedral,England(begun1332)
PERPENDICULARSTYLE
PerpendicularStyle:tookitsnamefromthepronounced
verticalityofitsdecorativedetails
Verticallinesdominant(examplewindowonright)
Choirvaultscoveredwithornamentalstrandsthatserveno
structuralpurpose(lookattheRomanesquebarrelvault)
Figure 18-40 Choir of Gloucester Cathedral
(view facing east), Gloucester, England, 1332
38
EdwardIIasRelic
GloucesterCathedral
Freestandingtombsarepermanentand
immovableunitsofchurchfurniture/preserve
bothremainsandmemoryofaperson/served
asreminderofhumanmortality/brought
distinction,pilgrims,patronagetothechurch
EdwardIIssonpaidforthememorialofhis
murderedfather
DeadkingisidealizedChristlikefigure/regal
robeswithcrown/oneachsideofhisheadan
angeltoucheshishair/athisfeettheguardian
lion
IntricatePerpendicularGothiccanopyencases
thecoffin,formingakindofminiaturechapel
protectingthedeceased
DistinctivefeatureisuseofOGEEARCHES
(archesmadeupoftwodoublecurvedlines
meetingatapoint),acharacteristicLate
Gothicform
39
LateGothicChapelofHenryVII,WestminsterAbbey,England
SeeSeparatePowerPointfor
detailedinformation
40
HighGothicCologneCathedral,Germany(begun1248)
FrenchGothicstylebeganto
makeimpactinGermanywith
CologneCathedralmid13th
century
CologneCathedralnot
completeduntilmorethan600
yearsafter1248=longest
buildingprojectonrecord
Gothic/GothicRevival
structureislargestcathedralin
N.Europe
41
ColognesSoaringVaults
422ft.longnavewithtwoaisles
oneachside
150ft.high14thcenturychoir
doublelancetsintriforium,tall
andslendersinglewindowsin
clerestoryaboveandinchoir
arcadebelow
42
Hallenkirche(HallChurch)SaintElizabethatMarburg
HallChurchaislesaresame
heightasnave/hasnotribune,
triforium,orclerestory
IncorporatesFrenchinspiredrib
vaultswithpointedarchesand
talllancetwindows
Germaninteriorismoreunified
andfreeflowing,lessnarrowand
divided,andmorebrightly
illuminatedthaninteriorsof
FrenchandEnglishGothic
churches
43
StrasbourgCathedral,France
DeathoftheVirginAPassionateDrama
TodayStrasbourgisaFrenchcitybutnotsointhe13thcentury(German)
StylisticallytheStrasbourgCathedralismostlyRomanesque,butthetympanumon
thesouthtranseptportalisGothic
12ApostlesgatheraroundtheVirgin/atcenterChristreceiveshismotherssoul/
MaryMagdalenecrouchingatbottom
FiguresexpressEMOTION/dramaticposesandgestures/deeplyinciseddraperyadds
todrama/wantstostiremotioninobserver/humanizing,natural,passionate
Figure 18-48 Death of the Virgin, tympanum of left doorway, south transept, Strasbourg Cathedral, Strasbourg,
France, ca. 1230.
44
NaumburgCathedral,Germany
EkkehardandUtaSecularImages
Sculptorofwestchoirhadtasktocarvestatuesof12benefactorsofthe
original11thcenturychurchforafundraisingcampaign
GermanmilitarygovernorEkkehardIIofMeissenandhiswifeUta
Wellpreservedbecauselocatedindoors(canstillseepaint)
Frenchinfluence:attachedto
columns/architecturalcanopies
Wearingperiodcostumes/
individualizedfeaturesand
personalities
Showsbodyunderclothing
(Utasarm)/renderingof
draperyfoldsindicatesthatwas
workingfromamodel
REALPEOPLE/SECULAR
IMAGESFOUNDINTHE
CHURCH
45
BambergCathedral,Germany
BambergRider
EquestrianstatuederivedfromancientRome
Seemstobeatrueportrait(GermanEmperor)
Proportionsofriderandhorsearecorrect/artistdidnot
understandtheanimalsanatomysoitisstifflyschematic
46
VirginwiththeDeadChrist(RottgenPieta),German
DirectAppealtotheEmotions
14thCenturywar,plague,famine,socialstrife
awarenessofsuffering
Artistsemphasizedthetraitsofhumansufferingin
powerful,expressiveexaggeration
Pieta=pityorcompassioninItalian
Christisdistorted,stiffindeathcoveredwithblood/
VirginMarycradleshimandhasoversizedface
twistedinexpressionofunbearablegrief
Viewerisconfrontedwithanappallingiconofagony,
deathandsorrowthathumanizesthesetwosacred
people
HUMANIZINGOFRELIGIOUSTHEMESAND
RELIGIOUSIMAGES
47
NicholasofVerdunMosanArtist
MosanRegion=fromGermanysMeuseRiverValley
Pulpitconvertedintoaltarpieceafterfirein1330
KlosterneuburgAltar(triptych)51enamelssetintotrefoilarchedniches
framedbyexplanatoryinscriptions(NewandOldTestamentthemes)
Goldfiguresagainstbluebackground/biblicalactorstwistandturn/
exaggeratedgestures/intricatelinearfoldsindrapery/intense
emotionalism
Figure 18-53
NICHOLAS OF
VERDUN, Sacrifice
of Isaac, detail of
the Klosterneuburg
Altar, from the
abbey church at
Klosterneuburg,
Austria, 1181.
Gilded copper and
enamel, 5 1/2 high.
Stiftsmuseum,
Klosterneuburg.
Figure 18-52 NICHOLAS OF VERDUN, the Klosterneuburg Altar, from the abbey
church at Klosterneuburg, Austria, 1181. Gilded copper and enamel, 3 6 3/4 high.
Stiftsmuseum, Klosterneuburg.
48
LateGothicOrvietoCathedral,Italy(begun1310)
FewItalianarchitectsacceptedthenorthern
Gothicstyle
Frenchinfluenceseen:pointedgablesover
threedoorways,rosewindowframedbystatues
inniches,fourlargepinnaclesthatdividefaade
intothreebays
TheGothicfaademasksthebuildingbehindit
whichisamarblerevettedbasilicainthe
TuscanRomanesquetradition/timberroofed
navewithtwostoryelevation/roundarches
frametheapseandnavearcadenotpointed
TheOrvietofaaderesemblesagreataltar
screen,carefullycarvedandpainted
49
Doges(Dukes)PalaceVenice,Italy
VeniceoneofthewealthiestcitiesofLatemedievalItalyandofEurope
MostornatepublicbuildinginmedievalItaly/firstlevelhasshort,heavycolumnssupportpointedarches
theirrhythmisdoubledintheupperarcadeswheremoreslendercolumnscarryogeearcheswithquatrefoilson
top/eachstoryistallerthantheonebeneathit/colorful(creamandrosecoloredmarbles),decorative,lightand
airyinappearancefloatsbetweenwaterandair
Figure 18-56 Doges Palace, Venice, Italy, begun ca. 13401345; expanded and remodeled,
14241438.
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Discussion Questions
What are the key architectural and
decorative elements of the Gothic
cathedrals?
How would you compare sculpture in the
Gothic era to the earlier Romanesque
sculpture? What are the reasons for the
differences?
Consider a persons reaction in 14th-century
upon viewing a Gothic cathedral for the first
time. What might the reaction be to viewing
an enormous building supported by glass
walls?
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