GOTHIC EUROPE GARDNER CHAPTER 18-4 PP. 486-494

SALISBURY CATHEDRAL Interior of Salisbury Cathedral, Salisbury, England, 1220-1265 Embodies the essential characteristics of the English gothic style The English façade is a squat screen in front of the nave -> wider than the building behind it Soaring height of the French facades is absent Emphasis is on the great crossing tower -> because height is modest the use of the flying buttress is sparing

SALISBURY CATHEDRAL - PLAN Plan of Salisbury Cathedral, England, 1220-1258 Long rectilinear plan Double transept Flat eastern end Interior -> three story elevation, pointed arches, four part rib vaults, compound piers, tracery of the triforium Strong horizontal emphasis Use of dark Purbeck marbles for moldings and corbels SALISBURY CATHEDRAL - PLAN

GLOUCESTER CATHEDRAL Choir of Gloucester Cathedral, Gloucester, England, 1332-1357 The Perpendicular style = late English Gothic style -> takes its name from the pronounced verticality of it’s decorative details Single enormous window divided into tiers of windows fills the flat east end -> vertical lines dominate In the choir wall the vertical wall elements lift from the floor all the way to the vaulting The vaults ribs are a dense thicket of entirely ornamental strands serving no structural purpose

CHAPEL OF HENRY VII Robert and William Vertue, fan vaults of the chapel of Henry VII, Westminster Abbey, London, England, 1503-1519 The chapel of Henry VII epitomizes the decorative and structure disguising qualities of the Perpendicular style in the use of fan vaults with lacelike tracery and hanging pendants resembling stalactites Architectural virtuosity and theatrics of the Perpendicular style

ROYAL TOMBS Tomb of Edward II, Gloucester Cathedral, England, ca. 1330-1335 Freestanding tombs w/recumbent images of the deceased are familiar feature in Late Gothic Europe In the hope of salvation the wealthy endowed whole chapels for the chanting of masses and made rich bequests of treasure and property Freestanding tombs were endowed by patrons -> reminders of human mortality Edward II’s tomb resembles a miniature Perpendicular English Gothic chapel w/its forest of gables, ogee arches and pinnacles

COLOGNE CATHEDRAL Cologne Cathedral begun in 1248 under the direction of Gerhard of Cologne took more than 600 years to build The largest church in northern Europe Only the east end dates the 13th century -> the 19th century portions follow the original Gothic plans

GERHARD OF COLOGNE, Choir of Cologne Cathedral (view facing east), Cologne, Germany, completed 1322 The nave of Cologne Cathedral is 422 feet long The 150 foot high choir, a taller variation on the Amiens Cathedral choir, is a prime example of the Gothic architects’ quest for height

SAINT ELIZABETH, MARBURG Interior of Saint Elizabeth, Marburg, Germany, 1235-1283 A different type of design that developed especially in Germany is the HALLENKIRCHE = the aisles are the same height as the nave No tribune, triforium, or clerestory French inspired rib vaults w/pointed arches, and tall lancet windows Because of the tall aisles windows in the aisle walls, sunlight brightly illuminates the interior

STRASBOURG CATHEDRAL Death of the Virgin, tympanum of left doorway, south transept, Strasbourg Cathedral, Strasbourg, France, ca. 1230 The 12 apostles gather around the Virgin, forming an arc well suited for the frame At the center Christ receives his mother’s soul Mary Magdalene couches beside the bed Sacred figures w/human emotions -> stir emotional responses in observers -> humanizing trend

EKKEHARD AND UTA Ekkehard and Uta, statues in the west choir, Naumberg Cathedral, Naumberg, Germany, ca. 1249- 1255 Donor portraits -> represent the Margrave(military governor) Ekkehard and his wife Uta Statues attached to columns and stand beneath architectural canopies Period costumes and individualized features and personalities Intense knight and his beautiful and aloof wife

BAMBERG RIDER Equestrian statue (Bamberg Rider), statue in the east choir, Bamberg Cathedral, Germany, ca. 1235- 1240 Some believe it represents a German emperor, perhaps Frederick II Careful representation of the rider’s costume, high saddle, and horse’s trappings Proportions of horse and rider are correct Rider turns towards the viewer

ROTTGEN PIETA Virgin with the Dead Christ (Rottgen Pieta), from the Rhineland, Germany, ca. 1300- 1325, painted wood The statuette of the Virgin grieving over the distorted dead body of Christ in her lap reflects the widespread troubles of the 14th century -> war, plague, famine, and social strife Pieta = Italian for pity/compassion An appalling icon of agony, death, and sorrow -> says to the the viewer, “what is your suffering compared to this?”

Renowned for his metal and enamel work, below is a huge reliquary in the shape of a basilica to house relics of the three magi NICHOLAS OF VERDUN