1. Gothic Architecture and Art:
-originated in France in mid 1100s (12th century); coincided with the emergence of a powerful monarchy there
-style expresses the aspiration for divinity through soaring height and luminosity (especially in Churches)
-period characterized by intellectual flowering in the Christian Church and ambitious Church building projects; age of cathedral building
-combines logic with mysticism of light and color to make a direct, emotional, experience for the worshipper
-name “Gothic” is a misnomer; 15th and 16th century Italians incorrectly attributed it to Germanic Goths
-urban cathedrals usurp monasteries as centers of religious patronage
Crusades meant Classical texts that were preserved in the East were rediscovered by the West—didn’t always jive with Church doctrine, (especially Aristotle’s emphasis on observation of the natural world) so new scholars tried to reconcile the differences by developing a method of enquiry called Scholasticism
Scholasticism; based on dialectic reasoning, which is coming to a conclusion through dialogue and discussion, using reason
Impacted the arts as master builders started to see divine order in geometric relationships and used those relationships as inspiration for architectural and sculptural programs
Explosion of church building; some 80 cathedrals, 500 large churches and tens of thousands of parish churches were built during the Middle Ages; estimated 2700 built in a 100 yr span alone.
Aristotle; knowledge through empirical observation and experience;

2. Title: Europe in the Gothic Era
First example, rebuilding of Abbey Church of St. Denis, N of Paris, by Abbot Suger
Gothic style first emerged in Ile-de-France area (now where Paris is); also location of French centralized monarchy;
Capetian monarchy-largest and oldest European royal house, descendants of Hugh Capet of France
In contemporary times, both King Juan Carlos of Spain and Grand Duke Henri of Luxembourg are members of this family

3. Abbey Church of St. Denis; 600s – 800s
-had been a Carolingian monastery and center for learning
-symbolically important location for France b/c it housed the tombs for the Kings of France and their courts and the relics of St. Denis (patron St. of France)
-Abbot Suger remodeled it b/c he claimed it was inadequate to house the worshippers
-Suger traveled widely and was familiar with Greek philosophy, especially a 5th cent philosopher who equated light with divinity
-innovations led to the widespread use of large stained glass windows that bathed the inside of French churches with color during the Gothic period
Location where church building explosion began in Gothic
St. Denis (patron St. of France)—first bishop of Paris, according to tradition
Claimed “women were being crushed and monks had to flee w/ their relics by jumping through windows”
familiar with Greek philosophy, especially a 5th cent philosopher who equated light with divinity; Suger adapted this idea into the redesign of the church
Abbey Church of St. Denis; 800s – 1100s

4. St. Denis; mid 1100s Early Gothic -Began rebuilding in 1135
Suger wrote about his administration of the abbey in 3 books; he invited masons and sculptors from other region to the abbey, making it a center for artistic exchange
-Began rebuilding in 1135
-Suger built the new, larger west façade and narthex, and expanded sanctuary: aspe, ambulatory chapels (7) and choir on the east end
-West façade/Narthex shows 2 towers, a round window and narrative sculpture over 3 doors, not one.

5. -combined Romanesque Norman influence of 3-door façade design with sculptured doorways
-much of the sculpture on the façade was destroyed or damaged in the 18th century and the north tower had to be removed after it was struck by lightening in the 19th century
Title: West Façade, Abbey Church of Saint-Denis, France. 1135–44
Medium: Engraving
Source/ Museum: Made before 1837
Church of Saint-Étienne, Caen
façade c. 1096–1100;
West Façade, Abbey Church of Saint-Denis, France. 1135–44; Engraving made before 1837

6. -choir; completed in 3 years and 3 months
-resembled a pilgrimage church with semicircular ambulatory and seven radiating chapels
-large stained glass windows were new innovation
-all elements are integrated to create the feeling of an open, flowing space
-new architectural aesthetic based on open spaces rather than massive walls
Title: Interior, Abbey Church of Saint-Denis, Choir
Date: 1140–44; 1231–81
Source/ Museum: Paris, France
Interior, Abbey Church of Saint-Denis, Choir
1140–44; 1231–81

7. -view of the vaults at St. Denis
Abbey Church of Saint-Denis, plan. West Façade 1135–40; Choir 1140–44; Nave 1231–81.
-success of the church’s interior depends on masterful use of vaulting techniques; see photo
-culmination of 50 yrs of experimentation and innovation with barrel vaults and groin vaults
Suger died before it was completed, so didn’t see it finished
was finished in a later style
Title: Abbey Church of Saint-Denis, plan. West Façade 1135–40; Choir 1140–44; Nave 1231–81.
-view of the vaults at St. Denis

8. Elements of Architecture: Rib Vaulting
Title: Elements of Architecture: Rib Vaulting
Elements of Architecture: Rib Vaulting

9. Cathedral of Notre Dame, Paris. View from the South.
-Cathedral of Paris, called Notre Dame, bridges the gap between early Gothic St. Denis and later High Gothic style
flying buttress
represents innovations on the nave when flying buttresses were added outside the nave to secure the vault, remove stress from the wall, and therefore allow for larger windows
buttresses counter the outward thrust of the nave vault by carrying the weight over the side aisles to the ground
huge buttresses we see today were later additions and the huge crossing tower spire is a 19th century addition
Title: Cathedral of Notre Dame, Paris. View from the South.
Date: Begun 1163; choir chapels, 1270s; crossing spire, 19th-century replacement
Cathedral of Notre Dame, Paris. View from the South.
Begun 1163; choir chapels, 1270s; crossing spire, 19th-century replacement

10. West Façade, Chartres Cathedral; Chartres France
-Chartres Cathedral one of the oldest and most important Christian shrines in France
-tried to present all of Christian history in the sculpture and stained glass of their cathedral
-another elegant example of transition from early Gothic to mature style
-considered “near perfect embodiment of the Gothic spirit in stone and glass”
-a fire destroyed most of the church in 1194, but spared the Royal portals, its windows and relics of the Virgin Mary (including a piece of her tunic supposedly worn while giving birth to Jesus)
also uses number symbolism;
3 represents spiritual world and trinity,
4 represents the material world (4 winds, 4 seasons, 4 rivers of paradise: “A river flowed out of Eden to water the garden. From there it divided and became four major rivers”)
combined, 3 and 4 form the perfect, all inclusive number 7;
7 gifts of the Holy Spirit: wisdom, understanding, counsel, fortitude, knowledge, piety, fear of the lord
Title: West Façade, Chartres Cathedral (The Cathedral of Notre-Dame)
Date: West façade begun c. 1134; cathedral rebuilt after a fire in 1194; building continued to 1260; north spire 1507–13
Source/ Museum: Chartres, France
West Façade, Chartres Cathedral; Chartres France
West façade begun c. 1134; cathedral rebuilt after a fire in 1194; building continued to 1260; north spire 1507–13

11. Royal Portal, West Façade, Chartres Cathedral, c. 1145–55
-calm and order prevails on Gothic church sculpture, unlike crowded images from Romanesque churches
Royal Portal, West Façade, Chartres Cathedral, c. 1145–55
inspired by the portal at St. Denis
central tympanum Christ
apostles shown as 4 groups of the 3 under him
24 elders of the apocalypse line the archivolts
jamb figures depicted Old test kings and queens; just as the old test supports the new test, so do these biblical kings and queens support Christ and Mary above
during French Rev, sculptures of kings and queens on churches were destroyed; Chartres some of the few to survive
Jamb figures became standard elements of Gothic doorways—became fully dimensional figures latter on
at Chartres, integrated naturally to their architectural surroundings
Title: Royal Portal, West Façade, Chartres Cathedral
Date: c. 1145–55
Title: Royal Portal, West Façade, Chartres Cathedral. Detail: Prophets and Ancestors of Christ (Kings and Queens of Judea) (Right side, Central Portal)
-inspired by the portal at St. Denis
-central tympanum shows Christ enthroned in royal majesty w/ 4 evangelists
-storied capitals running across all 3 doors depict his earthly activities
-flanking the doors are monumental jamb figures depicted Old test kings and queens

12. Chartres Cathedral, air view
church reluctantly agreed to rebuild; very expensive endeavor that frequently sparked riots among townspeople and local nobility, b/c the church claimed economic privileges;
sent the Virgin’s relics on “traveling exhibitions” to raise money
new church built on concept of elegant masonry shell enclosing large open space inside (begun at St. Denis)
Title: Chartres Cathedral, air view from Southeast
-enlarged sanctuary encompasses 1/3 of the building
-nave is 120’ high and 45’ wide—tall and narrow
-cross-section of the nave is an equilateral triangle from keystone of vaults to outer edge of buttresses on the exterior

13. Romanesque 6-part vault
piers are consistent; not alternating heavy and light like Romanesque; making more harmonious interior
glass fills nearly half the wall surface—lightening of the structure made possible by buttresses on outside
Title: Nave, Chartres Cathedral, c. 1194–1220
-open nave and clerestory are nearly equal in height; creates harmony
-uses 4-part vaulting, unlike 6-part vaults we saw in Romanesque
-little interior architectural decoration
Nave, Chartres Cathedral, c. 1194–1220

14. -glass set within an iron framework
-Chartres is unique among French gothic buildings in that most of its stained glass windows have survived
-light through these windows changes with the time of day and seasons and movements of clouds; dramatic effect on the senses and emotions
-window shows Tree of Jesse image; much more complex than Romanesque Cistercian manuscript image
-glass set within an iron framework
-glass work is combination of colored glass pieces cut and laid together; details could be added with enamel paint fired onto the surface
Title: Tree of Jesse, West Façade, Chartres Cathedral
Medium: Stained and painted glass
Date: c. 1150–70
Tree of Jesse, West Façade, Chartres Cathedral
Stained and painted glass
c. 1150–70

15. -color symbolism used in window design blue = heaven and fidelity,
red = the Passion,
white = purity,
green = fertility and spring,
yellow = gold or presence of God, or could mean cowardice and deceit
Title: Chartres Cathedral, North Transept, Rose Window and Lancets, Known As The “Rose of France”
Medium: Stained and painted glass
Date: c. 1220
Source/ Museum: North transept, Chartres Cathedral
Chartres Cathedral, North Transept, Rose Window and Lancets, Known As The “Rose of France”
Stained and painted glass
c. 1220
North transept, Chartres Cathedral

16. -shows Gothic desire for both actual and perceived height
Ah-mee-en
Eliminated the narthex and expanded the transept and sanctuary (apse, ambulatory chapels and choir), which shortened the nave and balanced the East and West sides of the church on either side of the crossing
nave 48’ wide by 144’ high—tall and narrow, again; 3:1 h/w ratio
Exaggerated the sense of height
Title: Nave, Amiens Cathedral
Date: 1220–88; upper choir reworked after 1258
Source/ Museum: France
High Gothic
Nave, Amiens Cathedral, France; 1220–88; upper choir reworked after 1258
-Amiens is archetypal High Gothic church; plan is simplified and clarified, as compared with Chartres
-shows Gothic desire for both actual and perceived height

17. -simplification of plan at Amiens compared with Chartres
Artist: Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont
Title: Plan of Cathedral of Notre-Dame, Amiens
Date:
Plan of Cathedral of Notre-Dame, Amiens
Chartres Cathedral, plan, c. 1194–1220

18. -Shows increase in height of Gothic naves; from 115’ at Paris’ Notre Dame to 144’ at Amiens
Title: Comparative cathedral nave elevations: Paris, H. 115' (35 M), W. 40' (12 M); Chartres, H. 120' (37 M), W. 45' 6" (17 M); Reims H. 125' (38 M), W. 46' (14 M); Amiens, H. 144' (44 M), W. 48' (15 M)
Source/ Museum: From Louis Grodecki, Gothic Architecture, New York, 1985
Comparative cathedral nave elevations: Paris, H. 115', W. 40'; Chartres, H. 120', W. 45' 6"; Reims H. 125', W. 46'; Amiens, H. 144', W. 48'

19. -was the coronation church for the Kings of France
-Amiens nave and choir were Gothic ideals, but Reims had the ideal Gothic west façade
-was the coronation church for the Kings of France
-had been a cultural and educational center since Carolingian times, like St. Denis
-1210 fire destroyed the building; so rebuilt in Gothic style
-used large windows for the tympana rather than sculpture; put sculpture in the gables instead
-Mary, rather than Christ dominates the central portal; showing growing importance of her cult at the time
later additions
bar tracery
Reims (pronounced Rance)
tall gables, center one reaching the center of the lg rose window, unify the front
deep porches encrusted with sculptures; reflects years of changing plans which is why it is less unified than Amiens portal sculpture
bar tracery; thin stone strips that make a lacy pattern over a glass window
towers and row of Kings and Queens under the towers were later additions
Title: West Façade, Cathedral of Notre-Dame, Reims
Date: Rebuilding begun 1211; façade begun c. 1225; to the height of rose window by 1260; finished for the coronation of Philip the Fair in 1286; towers left unfinished in 1311; additional work 1406–28
Source/ Museum: France
gabled portals
West Façade, Cathedral of Notre-Dame, Reims

20. Mary dominates the central portal
Reims Central Portal
Window in portal
Mary dominates the central portal
Christ crowns her as the Queen of Heaven
-Window in portal, not tympanum sculpture
-Mary dominates the central portal
-Christ crowns her as the Queen of Heaven

21. Nave, Reims Cathedral, looking West; Begun 1211; nave c. 1220
-at Reims, sculpture and the large stained glass windows fill the West wall
-sculpture shows carved Old Testament prophets and Christ’s royal ancestors
-serve as moral guides for the newly crowned monarchs who faced them after their coronation
Title: Nave, Reims Cathedral, looking West
Date: Begun 1211; nave c. 1220
Source/ Museum: Reims, France
Nave, Reims Cathedral, looking West; Begun 1211; nave c. 1220

22. -was originally subtly painted to enhance their realism
High Gothic Sculpture
-like Greek sculpture, Gothic sculpture evolved from static forms to moving figures; from abstraction to realism
-was originally subtly painted to enhance their realism
-at Amiens, figures of Saints and apostles line the door jambs
-most made at the same workshop over a 20 year period, giving them a consistent style that other places lack
-central portal is dedicated to Christ and the apostles; last judgment in the tympanum above
-cleaning at Amiens and Reims has revealed colors; borders of garments were painted to indicate embroidery, gilded angel wings, and colored foliage
Title: West façade, Amiens Cathedral
Size: Height of figures, 7–8'
Date: c. 1220–36/40 and continued through the 15th century
Source/ Museum: Amiens, France
West façade, Amiens Cathedral
Height of figures, 7–8'
c. 1220–36/40 and continued through the 15th century

23. West Façade, Central and North Portals and Quatrefoils
Beau Dieu, trumeau, central portal, west façade, Amiens Cathedral; c. 1220–36/40
-shows Christ as “teacher/priest” bestowing his blessings on the faithful
-figure established an ideal for Gothic figures; clear, solid forms, elegant drapery, and close observation with idealization
Christ in the central trumeau (piece between the central doors) is the focus of the façade
stands on a lion and basilisk type creature symbolizing his triumph over evil and death
new feature at Amiens; quatrefoils along the eye level under the figures; contain illustrations of Virtues and Vices (good/evil) in daily life, the seasons and labors of the months, the lives of the saints and biblical stories—finally the natural world enters Christian imagery
Title: West Façade, Central and North Portals. Amiens Cathedral
Date: /40
Source/ Museum: Amiens, France
Title: Beau Dieu, trumeau, central portal, west façade, Amiens Cathedral
Date: c. 1220–36/40
West Façade, Central and North Portals and Quatrefoils
Amiens Cathedral; /40

24. Master of the Smiling Angels Amiens Master Classical Shop
sculpture at Reims shows three different characteristic Reims styles
many sculptures have been moved from their original locations and most were done in a 20 year period between 1230 and 1250
Title: West Façade, Central Portal, Right Side, Reims Cathedral
Date: Annunciation (left pair: Mary [right] c. 1245, angel [left] c. 1255) and Visitation (right pair: Mary [left] and Elizabeth [right] c. 1230)
Master of the Smiling Angels
Amiens Master
Classical Shop
West Façade, Central Portal, Right Side, Reims Cathedral
Annunciation (left pair: Mary [right] c. 1245, angel [left] c. 1255) and Visitation (right pair: Mary [left] and Elizabeth [right] c. 1230)

25. Art historians have named the styles:
Classical shop (Visitation); sculptors drew on Classical sources
-either directly from Roman sculpture or indirectly through metalwork examples
-recall imperial portrait statuary; bend of knee creates sense that figures turn toward each other (movement)
-heavy drapery
Annunciation pair shows 2 different styles:
Amiens master style (Mary); by a particular artist whose name is not known, slender, restrained style in contrast to the life-like Classical examples
Master of the Smiling Angels (Angel Gabriel); known for his tall, graceful figures that suggest the fashions associated with aristocratic, courtly elegance in Paris at mid-cent.
-influences later artists from Paris to Prague as a guiding ideal of grace and refinement

26. -built this chapel to house those relics
-2nd half of 13th century; artists followed the style of the Master of the Smiling Angels at Reims, the luminous west façade at Reims and choir of Amiens
-created new variation of Gothic style called Rayonnant, or Court Style (referring to the Parisian court); used this style to finish other buildings, like St. Denis and added transepts and chapels to Notre Dame in Paris
-this chapel in Paris is masterpiece of Rayonnant style; commissioned by Louis IX of France; he was an avid collector of relics from Christ’s Passion
-built this chapel to house those relics
-resembles a giant reliquary; made of stone and glass instead of gold and gems
-stone surfaces are painted and gilded; red, blue and gold, so stone and glass seem to merge in the glowing light
Passion; Christ’s arrest, trail, crucifixion and resurrection
relics of the Passion of Christ
Crown of Thorns
Lance tip
Sponge
Fragment of the true cross
built in 2 stories; 1st has nave and narrow side-aisles; 2nd is single room with rounded east wall (upper chapel is shown)
wall are reduced to clusters of colonettes framing tall windows filled w/ glass
Title: Upper Chapel, Sainte-Chapelle
Date: 1243–48
Source/ Museum: Paris
Upper Chapel, Sainte-Chapelle
1243–48; Paris

27. Sainte-Chapelle; West end
painted statues of 12 apostles stand between window sections
windows contain narrative and symbolic scenes
windows in the curve of the sanctuary behind the altar and relics, illustrate the Nativity and Passion of Christ, the Tree of Jesse and life of St. John the Baptists
Sainte-Chapelle; sculpture

28. St. Denis; early Gothic additions
mid 1100s
-Court Style is characterized by interlocking, overlapping forms, linear patterns and above all, spatial unity
-style continues through the 14th and into the 15th centuries and influences Gothic art of Germany, Italy and Spain
-style used to finish the Church of St. Denis
St. Denis; Court Style Gothic; c. mid 14th cent

29. Illuminated Manuscripts:
-13th century France was renowned not only for architecture and sculpture, but also for book production
-Paris is major center for book production in France
-book production moves into secular workshops; works range from practical manuals to elaborate devotionals
-Court Style influenced manuscript styles, which helped to spread the style throughout Europe
-compositional format reflects stained-glass, where images are arranged as columns within a frame
-colors also reflect architecture
this page, from book commissioned by Louis IX’s mother, Blanche of Castile, made by Paris workshop
Blanche and King seated on ornate thrones against gold background
below, monk dictates as scribe writes
Court Style
Title: Page with Queen Blanche of Castile and Louis IX, Moralized Bible
Medium: Ink, tempera, and gold leaf on vellum
Size: 15 x 10½" (38 X 26.6 cm)
Date: 1226–34
Source/ Museum: Paris / The Pierpont Morgan Library, New York. MS. M. 240, f.8

30. -contains 78 full page illuminations
-this Psalter defines the Court Style in manuscript illumination, just like Sainte-Chapelle defined it in architecture, because of its opulence, number, and style of illustrations
-contains 78 full page illuminations
-created for the King’s private devotional
-figures rendered in a style that recalls the Master of the Smiling Angels at Reims, S-curve
-architectural frame depicting gables and windows establishes a shallow stage for the scene
-stylized but recognizable oak tree/leaves, and angel’s blessing gesture with Sarah’s presence indicate a specific moment in the story; move toward representing the natural world and time will increase
illustrations at the back of the book, following written psalms
This page shows Abraham’s and Sarah hospitality to 3 strangers (old T story);
(represents God in 3 persons); prefigures New T concept of God as Trinity;
3 strangers told Sarah she would bear a child (Isaac—patriarch of Jewish people; in Judaism + Christianity);
prefigures New T idea of angel telling Mary she would have a child
(Ishmael, Abraham’s son w/ second wife, ancestor of Arab people)
Title: Abraham, Sarah, and the Three Strangers From the Psalter of Saint Louis
Medium: Ink, tempera, and gold leaf on vellum
Size: 5 X 3½" (13.6 X 8.7 cm)
Date: 1253–70
Source/ Museum: Paris / Bibliothèque Nationale, Paris
Abraham, Sarah, and the Three Strangers From the Psalter of Saint Louis
Ink, tempera, and gold leaf on vellum
5 X 3½"
1253–70

31. Gothic England Psalm 1 (Beatus Vir) from The Windmill Psalter
French gothic style influenced English art, especially architecture and manuscript illumination, but tempered by local materials, methods and artistic traditions; especially expressive use of line and interest in surface decoration
Windmill Psalter shows British interest in dazzling artistry and delight in ambiguities
French Gothic style is visible in elongated proportions, dainty heads; combined with English traditions of interlaced tendrils and stylized drapery
Beatus is first word of psalm 1; B is on left, e is on right
B outlines densely interlaced Tree of Jesse design
E supports characters from the story of the Judgment of Solomon (2 women, both claiming same baby; cut it!)
realistic and surprising details abound; knight on E hooks his foot to keep hold
windmill on top is typical of their realism; indicates verse that says how wicked people will not survive the judgment, but will be driven away like chaff, by the wind
Artist: Gothic England
Title: Psalm 1 (Beatus Vir) from The Windmill Psalter
Medium: Ink, pigments, and gold on vellum
Size: each page 12 ¾ X 8¾" (32.3 X 22.2 cm)
Date: c. 1270–80
Source/ Museum: London / The Pierpont Morgan Library, New York. M. 102, f. lv-2
Psalm 1 (Beatus Vir) from The Windmill Psalter
Ink, pigments, and gold on vellum; each page 12 ¾ X 8¾“; c. 1270–80

32. Salisbury Cathedral
1220–58; west façade finished 1265; spire c. 1320–30; cloister and chapter house 1263–84.
shows wider western façade that doesn’t indicate the structural layout within the church; at odds with French goals where the exterior structure explains the interior structure;
also horizontal emphasis to the west façade, rather than towers that flank deep doorways, as in France
mighty crossing tower becomes focus of building; not slender spire like French (400’ spire is 14th cent, addition, though)
layout was also distinct, with wide double transepts, square east end with single chapel and spacious sanctuary
Artist: English Gothic
Title: Salisbury Cathedral; Cathedral, Plan
Date: 1220–58; west façade finished 1265; spire c. 1320–30; cloister and chapter house 1263–84.
Source/ Museum: Salisbury, England

33. -stonework was originally painted and gilded
-Salisbury nave shows Norman influence with heavy walls and tall nave arcade surmounted by a gallery and clerestory with simple lancet windows
-horizontal focus of arcade moves worshipper’s attention toward the altar, rather than upward to the vaults
-stonework was originally painted and gilded
Title: Nave, Salisbury Cathedral
Source/ Museum: Salisbury, England
Nave, Salisbury Cathedral

34. Nave, Salisbury Cathedral
Salisbury; focus on apse/altar
Amien; focus on vault
Nave, Amiens Cathedral
Nave, Salisbury Cathedral

35. Gothic Art in Germany and the Holy Roman Empire
-Holy Roman Empire decreased in importance by 13th century
-Gothic style, like in England, reflects regional influences
-emphasis on sermons in church services led Germans to further develop the hall church (with open, light-filled, interior space)
-characterized by a nave and side aisles whose vaults reach the same height
-Saint Elizabeth; first true Gothic hall church
Holy Roman Empire (stretched from N. Italy to border of Denmark in the north) ceased to be an important power by the 13th cent.
England and France were emerging as major nation states
After death of emperor; Fredrick II (also king of Sicily); Empire became a conglomeration of city-states
St. Elizabeth; buttresses emphasize church’s verticality on outside
Title: Exterior, Church of Saint Elizabeth
Date: 1235–83
Source/ Museum: Marburg, Germany
Exterior, Church of Saint Elizabeth; 1235–83; Marburg, Germany

36. -closely spaced piers emphasize vertical, linear quality
-light filled, with light from 2 stories of tall windows
-circular piers, slender engaged columns and window tracery resemble cathedral at Reims
-hall church design was also adopted for civic and residential buildings in Germanic lands, and also for Jewish architecture
Title: Interior, Church of Saint Elizabeth
Date: 1235–83
Source/ Museum: Marburg, Germany
Interior, Church of Saint Elizabeth
1235–83; Marburg, Germany

37. Holy Roman Empire Sculpture:
Germanic lands have a distinguished history of sculpture and metalwork
Classical influence lingered throughout the Middle Ages; movement led by Nicholas of Verdun, whose work the Classical shop artists at Reims must have known
Shrine of 3 kings; basilica plan church shape to it
Shows Roman (Classical) influence (which was still visible in the region) with the naturally modeled figures and drapery
Artist: Nicholas of Verdun and workshop
Title: Shrine of the Three Kings
Medium: Silver and gilded bronze with enamel and gemstones
Size: 5'8" X 6' X 3'8" (1.73 X 1.83 X 1.12 m)
Date: c. 1190–c. 1205/10
Source/ Museum: Cologne (Köln) Cathedral, Germany
Nicholas of Verdun and workshop; Shrine of the Three Kings
Silver and gilded bronze with enamel and gemstones
5'8" X 6' X 3'8“; c. 1190–c. 1205/10

38. Dormition of The Virgin; c. 1240
Another reflection of the Classically inspired Gothic sculpture from Germanic lands and especially Mosan (like Nicholas Verdun) area artists (river valley in present day Belgium)
Shows Mary lying on her deathbed; Christ receives her soul (the doll figure)
Dramatically expressive figures—this intense emotion becomes characteristic of German medieval sculpture
Title: Dormition of The Virgin
Date: c. 1240
Source/ Museum: South transept portal tympanum, Strasbourg Cathedral, Strasbourg, France
Dormition of The Virgin; c. 1240
South transept portal tympanum, Strasbourg Cathedral,

39. -realism is also strong current of Germanic Gothic art
-this statue suggests it was sculpted from a living model
-Maurice was the commander of Egyptian Christian troops in the Roman Army and was martyred with his troops in 286
-he was the patron Saint of Magdeburg Germany and revered by Ottonian emperors; also a favorite saint of military aristocrats
Title: Saint Maurice
Medium: Dark sandstone with traces of polychromy
Date: c. 1240–50
Source/ Museum: Magdeburg Cathedral, Magdeburg, Germany
Saint Maurice
Dark sandstone with traces of polychromy
c. 1240–50
Magdeburg Cathedral, Magdeburg, Germany

40. -though portrait-like, medieval sculptures represent ideal types
-these ancestor images commissioned by a Bishop in Germany for his family funerary chapel show individualized, but idealized images of Ekkehard and Uta; ancestors who had been patrons of the church
-such realism became characteristic of German Gothic Art and ultimately had a profound impact on later art, both within Germany and beyond
Title: Ekkehard and Uta
Medium: Stone, originally polychromed
Size: approx. 6'2" (1.88 m)
Date: c. 1245–60
Source/ Museum: West chapel, Naumburg Cathedral, Naumburg, Germany
Ekkehard and Uta
Stone, originally polychromed
approx. 6'2"
c. 1245–60
West chapel, Naumburg Cathedral, Germany

41. -sees rise of artists in the modern sense
Gothic Art in Italy:
-13th cent. was a time of political division and economic growth in Italy
-sees rise of artists in the modern sense
-Nicola Pisano became leading artist of the Southern Italian style that was influenced by ancient Roman sculpture and the natural world
-his marble pulpit illustrates several biblical scenes around the top, likely inspired by Roman sarcophagus reliefs
-signed the work: “In the year 1260 Nicola Pisano carved this noble work. May so gifted a hand be praised as it deserves.”
-as Holy Roman Empire lost control and Spain and France competed for control of Italy, organization of successful merchants created communal governments in prosperous and independent city-states
-growing individual wealth and power inspired patronage of the arts
Artist: Nicola Pisano
Title: Pulpit, Baptistry, Pisa
Medium: Marble
Size: height approx. 15' (4.6 m)
Date: 1260
Nicola Pisano
Pulpit, Baptistry, Pisa
Marble; height approx. 15‘; c. 1260

42. Nicola Pisano; Nativity Marble
33½ X 44½“; Detail of pulpit, Baptistry, Pisa, Italy
-Nicola’s treatment of the Nativity scene on the pulpit shows deeply cut, full bodied figures with calm faces
-classically inspired crowded forms suggest Roman sarcophagi; though shifts in scale are typical of Gothic
-similar to his father’s in concept, but different in style and execution;
-replaces his father’s passive Roman Mary with a slender young Mary who gazes at her baby;
-image is as dynamic at Nicola’s is static
Nicola’s son, Giovanni assisted and learned from his father
Giovanni carved a pulpit for Pisa Cathedral (not Baptistery; that was dad)
Artist: Nicola Pisano
Title: Nativity
Medium: Marble
Size: 33½ X 44½" (85 X 113 cm)
Date: 1260
Source/ Museum: Detail of pulpit, Baptistry, Pisa, Italy
Artist: Giovanni Pisano
Size: 34⅜ X 43" (87.2 X cm)
Date: 1302–10
Source/ Museum: Detail of pulpit, Pisa Cathedral, Pisa
Giovanni Pisano; Nativity
Marble
34⅜ X 43“; 1302–10
Detail of pulpit, Pisa Cathedral, Pisa

43. Siena Cathedral; 1284–99; Siena, Italy. Lower west façade,
Giovanni Pisano worked as architect, designer and sculptor of the façade of the Cathedral in Siena, Italy
incorporated elements of French Gothic in Gothic gables with classical column and moldings; makes richly ornamented ‘screen’ independent of the building behind
Title: Siena Cathedral
Date: 1284–99
Source/ Museum: Siena, Italy. Lower west façade,
Siena Cathedral; 1284–99; Siena, Italy. Lower west façade,
-rather than focus on complex narrative sculpture typical of French Gothic façades, Italy often placed emphasis on architectural detailing and on narrative door panels

44. Coppo di Marcovaldo; Crucifix Tempera and gold on wood panel
-capture of Constantinople by Crusaders in 1204 that brought relics to France also resulted in an influx of Byzantine art and artists to Italy
-introduced a new emphasis on pathos and emotion; like this “Suffering Christ” crucifix
-historiated crucifix: scenes on each side of the body tell the Passion story
-such crosses mounted on the choir screen that separated the clergy in the sanctuary from the worshippers
Artist: Coppo di Marcovaldo
Title: Crucifix
Medium: Tempera and gold on wood panel
Size: 9'7⅜" X 8'1¼" (2.93 X 2.47 m)
Date: c. 1250–70
Source/ Museum: Pinacoteca, San Gimignano, Italy
Gero Crucifix
c. 970
Germany
Coppo di Marcovaldo; Crucifix
Tempera and gold on wood panel
9'7⅜" X 8'1¼“; c. 1250–70; San Gimignano, Italy

45. -colorful, educational paintings covered the walls of Italian churches
historiated cross
-colorful, educational paintings covered the walls of Italian churches
-shows placement of historiated cross on screen; leaning over the crowd
Life of St. Francis shows vivid example of Gothic mural painting; shows St. Francis making the first Christmas manger scene in the church of St. Francis;
also illustrates appearance of Italian Gothic Church interiors
Artist: Saint Francis Master
Title: Life of Saint Francis: Miracle of the Crib at Greccio
Medium: Fresco
Date: late 13th century?
Source/ Museum: Church of San Francesco, Assisi, Italy
Saint Francis Master; Church of San Francesco, Assisi, Italy
Life of Saint Francis: Miracle of the Crib at Greccio
Fresco; late 13th century?

46. -ceiling painting at the church of St
-ceiling painting at the church of St. Francis in Assisi shows good example of Italian church painting
-destroyed by an earthquake in 1997, the ceiling was reconstructed by reassembling the millions of broken pieces
Title: Church of Saint Francis, Assisi, Italy during the 1997 earthquake
Date: 1228–53
Church of Saint Francis, Assisi (1228–53), Italy during the 1997 earthquake
restored

47. Title: Elements of Architecture: The Gothic Church

48. Without Further Ado