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Gothic Art
Gothic cathedral symbolized The City of God, the Heavenly Jerusalem, which they were privileged to build on earth.
The Gothic style originated in northern France (around Paris) around 1140.
Gothic ArtFRENCH GOTHIC
Abbot SugerRebuilt the monastery of Saint-Denis in a style that would become known as Early Gothic, with an emphasis on light and costly furnishings. He regarded a lavish investment in art as a spiritual aid, not as an undesirable distraction as did Bernard of Clairvaux. He became the right-hand man of Louis VI and Louis VII and served as regent of France during the Second Crusade.
CrenellationsAlternating solid merlons and open crenels in the notched tops of walls, as in battlements.
KeepA fortified tower in a castle that served as a place of last refuge.
RampartsDefensive wall circuits.
Saint Thomas AquinasThe greatest exponent of Scholasticism, an Italian monk who wrote the Summa Theologica, a model of the Scholastic approach to knowledge. He set forth five ways to prove the existence of God through rational argument.
ScholasticismThe philosophy originating in the Cathedral School of Paris during the Gothic era. Using Aristotle’s system of rational inquiry, Schoolmen sought to demonstrate that reason alone could lead to certain truths.
Ambulatory and radiating chapelsAbbey Church of Saint-DenisSaint Denis, France1140-1144
Three of the features of the new choir at St. Denis as described by Abbot Suger that are characteristic of the new Gothic style.
rib vaultspointed archesstained glass windows
Ambulatory and radiating chapelsAbbey Church of Saint-DenisSaint Denis, France1140-1144
Structural and/or design features that characterize a Gothic vault.
Crossed (diagonal) arches under its groins.
Gothic vaults have more thinly vaulted webs between the arches than Romanesque vaults.
The pointed arch allowed builders to make the crowns of all the vault’s arches approximately the same level, regardless of the space to be vaulted.
Advantages of the pointed arch over the round arch
The points of the arches will be at the same level as the vault’s crown. The pointed arch allows for more flexibility in vaulting compartments of different shapes. They also require less buttressing.
Plan of the choirVaults of the ambulatory and radiating chapels of the choir
Abbey Church of Saint-Denis
Saint Denis, France
1140-1144
West Front, Royal Portals: Left portal, tympanum,The Ascension of Christ
Chartres Cathedral of Notre DameWest Front, Central Portal, Tympanum
Second Coming of Christ
Chartres Cathedral of Notre DameWest facade, Right Portal, Tympanum
Christ in the lap of the Virgin.
Old Testament queen and two kingsjamb statues, doorway of Royal PortalChartres CathedralChartres, Franceca. 1145-1155
Figures carved on the jambs are thought to represent:
Old Testament kings and queens, the royal ancestors of Christ both figuratively and literally.
Jamb figures differ significantly from Romanesque figuresThey show a new naturalism, particularly in the figures’ heads, where personalized faces replace the masklike features of Romanesque heads.They stand out from the plane of the wall They are treated as three-dimensional volumes so the figures move into the space of the observers.
New Gothic features found in the cathedral.
The triforium, the band of arcades below the clerestory.
The level crowns of the successive nave vaults create a longitudinal continuity that sweeps from west to east.
The central rose window on the west façade.
Romanesque features retained in Laon Cathedral.
Nave bays with sexpartite rib vaults, flanked by two small groin-vaulted squares in each aisle.
The vaulted gallery above the aisles.
Alternate-support system of compound piers alternating with simple piers.
sexpartite rib vault:
a rib vault which is divided into six sections. sexpartite rib vault: A rib vault whose surface is divided into six sections by three ribs.
The function of the flying buttress was to hold the much thinner and taller walls of the Gothic cathedral, countering the outward thrust of the nave vaults.
South façade of Notre Dame CathedralParis, Francebegun 1163, nave & flying buttresses ca. 1180-1200, remodeled after 1225
The flying buttress was an essential element of the Gothic architectural because they were the perfect solution to the problem of constructing towering naves with huge windows filled with glass. They appear slender and delicate and are part of the Gothic “look.”
South façade of Notre Dame Cathedral
Paris, France
begun 1163, nave & flying buttresses ca. 1180-1200, remodeled after 1225
Plan of Chartres Cathedral
Chartres, France
as rebuilt after 1194
In the new system a rectangular unit in the nave, defined by its own vault, was flanked by a single square in each aisle instead of two.
Nave of Chartres Cathedral
Chartres, France
as rebuilt after 1194
Rectangular nave bays replaced the square bays with sexpartite vaults and the alternate-support system.
The High Gothic vault covered a relatively smaller area and was braced more easily than Early Gothic.
Virgin and Child and Angels(Notre Dame de la Belle Verrière)choir of Chartres CathedralChartres, Franceca. 1170stained glass16 ft. x 7 ft. 8 in.
The theological significance of stained glass windows was
“Lux nova,” the “new light”, transformed the material world into the spiritual and enlighten those inside with “True Light” or the “True Sun” (God).
Rose Window and lancetsnorth transept of Chartres CathedralChartres, Franceca. 1220stained glassrose approximately 43 ft. in diameter
A rose window is circular.
A lancet window is a tall, narrow window with a pointed arch.
In plate tracery, the glass fills only the punched holes in the heavy ornamental stonework.
In bar tracery, the glass fills almost the entire opening and the stonework is unobtrusive, more like delicate leading than masonry wall.
Saints Martin, Jerome, and Gregoryjamb statues, Porch of the ConfessorsSouth transept of Chartres CathedralChartres, Franceca. 1220-1230
Gothic SculptureAlthough the figures of St. Martin. St. Jerome, and St. Gregory are still attached to their columns as the jamb figures, the architectural setting does not determine their poses as much. They turn slightly in and away from each other, breaking the strict verticality and frontality of the jamb figures. The drapery folds fall softly over the bodies rather than hanging stiffly.
Saint Theodorejamb statue, Porch of the Martyrs
South transept of Chartres Cathedral
Chartres, France
ca. 1230
High Gothic structural elementsLancet windows, especially in the clerestory and triforium.The rectangular-bay system.The four-part rib vault.Buttressing that permitted almost complete dissolution of heavy masses and thick weight-bearing walls.
Robert de Luzarches, Thomas de Cormont,and Renaud de Cormont
East facade of Amiens Cathedral
Amiens, France
begun 1220
Robert de Luzarches, Thomas de Cormont,and Renaud de Cormont
Choir vaults of Amiens Cathedral
Amiens, France
begun 1220
The four-part rib vault.
Robert de Luzarches, Thomas de Cormont,and Renaud de Cormont
nave of Amiens Cathedral
Amiens, France
begun 1220
Christ (Beau Dieu)trumeau statue of central doorway
west facade of Amiens Cathedral
Amiens, France
ca. 1220-1235
West facade of Amiens Cathedral
West facade of Chartres Cathedral
Similarities ;There are two towers of unequal height and there is a rose window above the triforium.
DifferencesThe façade of Chartres is mostly flat whereas Amiens has gable-covered, funnel-like portals. The upper parts of the façade of Amiens are much more punctured than the relatively more solid towers of Chartres. The towers of Chartres appear higher and thinner whereas the towers of Amiens are airier. At Amiens, there is a row of statuary between the rose window and the triforium.
West façade of Reims Cathedral
Reims, France
begun ca. 1225-1290
Major change do you see in the façade of Reims
The treatment of the tympanums over the doorways. At Reims, stained-glass replaces the stone relief sculpture of Amiens and earlier churches, giving it an even lighter appearance.
Sainte-Chapelle
Paris, France
1243-1248
Purpose of the Sainte Chapelle in Paris;
A repository for the crown of thorns and other relics Louis IX had bought from his cousin Baldwin II, emperor of Constantinople.
interior of the upper chapel
Sainte-Chapelle
Paris, France
1243-1248
The structure reflected that purpose in that most of the walls and bulk of the supports was dissolved by stained glass that make up more than three-quarters of the structure. This gives a linear and slender emphasis to the forms, with light creating an unearthly rose-violet atmosphere.
Virgin and Child (Virgin of Paris)
Notre-Dame
Paris, France
early 14th century
Pose;It is an exaggerated swaying S curve, neither organic (deriving from the figure) or rational organization of body parts, but rather a form imposed from without, almost denying the existence of solid body structure.
West façade of Saint-Maclou
Rouen, France
ca. 1500-1540
Late Gothic Flamboyant style;
The flamelike appearance of its pointed bar tracery.
House of Jacques Coeur Hall of the Cloth Guild
The new economic conditions of Northern Europe in the Late Gothic period are reflected in the lofty tower of the Guild Hall was intended to compete for prestige with the towers of cathedrals, and the stained-glass window and ornament of Jacques Coeur’s house reflect pride of individual wealth.
They show the new secular spirit, an expression of the triumph of city culture, capital accumulation, and the desire for worldly convenience and proud display.
Villard de Honnecourt
Figures based on geometric shapesfolio 18 verso of a sketchbook
from Paris, France
ca. 1220-1235ink on vellum9 1/4 x 6 in.
Villard de Honnecourt
An early 13th-century master mason. He used geometric shapes as the basis of his sketches, showing that they are the basis of both natural forms and buildings
God as architect of the worldfolio 1 verso of a moralized Bible
from Paris, France
ca. 1220-1230ink, tempera and gold leaf on vellum13 1/2 x 8 1/4 in.
Blanche of Castille, Louis IX and two monksdedication page (folio 8 recto) of a moralized Bible
from Paris, France
1226-1234ink, tempera and gold leaf on vellum15 x 10 1/2 in.
Manuscript illuminations influence the arts of architecture or stained glass
Figures stand beneath triple-lobed arches comparable to the architectural canopies of portal statues. The scribe on one page is shown to be dividing his own page into roundels, such as used in Gothic stained-glass windows.
Abraham and the Three Angelsfolio 7 verso of the Psalter of Saint Louis
from Paris, France
1253-1270ink, tempera and gold leaf on vellum5 x 3 1/2 in.
Manuscript illuminations influence the arts of architecture or stained glass
The image shows an architectural background similar to Saint-Chapelle.
Master HonoréDavid anointed by Samuel and battle of David and Goliathfolio 7 verso of the Breviary of Phillipe le Belfrom Paris, France1296ink and tempera on vellum7 7/8 x 4 7/8 in.
Style of Master Honoré The figures have sculptural volume.
He shows the play of light on the figures.
Like his contemporaries he approached book illustration as decoration of two-dimensional pages.
Jean Pucelle
David before Saul folio 24 verso of the Belleville Breviary
from Paris, France
1325ink and tempera on vellum9 1/2 x 6 3/4 in.
Virgin of Jeanne d’Evreaux
from the abbey church of Saint-Denis
Saint-Denis, France
1339silver gilt and enamel27 1/2 in. high
Features of the graceful image of the Virgin link her to the French court Mary is not just the Mother of Christ but also the Queen of Heaven. She originally wore a crown, and she holds a scepter in the form of a fleur-de-lis, the French monarchy’s floral emblem.
The Castle of Love and knights joustinglid of a jewelry casketfrom Paris, Franceca. 1330-1350ivory and iron4 1/2 x 9 3/4 in.
The casket is decorated with secular themes. The scene shows an allegory of the siege of the Castle of Love, related to the Romance of the Rose, a courtly love story. A jousting match takes central dominance, and one youth at the match holds a hunting falcon. The sides of the box show the allegory of female virtue, the legend of the unicorn.
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