1. GOTHIC EUROPE
GARDNER CHAPTER 18-4 PP

2. SALISBURY CATHEDRAL
Interior of Salisbury Cathedral, Salisbury, England,
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

3. SALISBURY CATHEDRAL - PLAN
Plan of Salisbury Cathedral, England,
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

4. GLOUCESTER CATHEDRAL
Choir of Gloucester Cathedral, Gloucester, England,
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

5. CHAPEL OF HENRY VII
Robert and William Vertue, fan vaults of the chapel of Henry VII, Westminster Abbey, London, England,
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

6. ROYAL TOMBS
Tomb of Edward II, Gloucester Cathedral, England, ca
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

7. COLOGNE CATHEDRAL
Cologne Cathedral begun in 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

8. 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

9. SAINT ELIZABETH, MARBURG
Interior of Saint Elizabeth, Marburg, Germany,
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

10. 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

11. EKKEHARD AND UTA
Ekkehard and Uta, statues in the west choir, Naumberg Cathedral, Naumberg, Germany, ca
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

12. BAMBERG RIDER
Equestrian statue (Bamberg Rider), statue in the east choir, Bamberg Cathedral, Germany, ca
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

13. ROTTGEN PIETA
Virgin with the Dead Christ (Rottgen Pieta), from the Rhineland, Germany, ca , 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?”

14. 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