1. 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.

2. Gothic Art FRENCH GOTHIC Abbot Suger Rebuilt 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. Crenellations Alternating solid merlons and open crenels in the notched tops of walls, as in battlements. Keep A fortified tower in a castle that served as a place of last refuge. Ramparts Defensive wall circuits. Saint Thomas Aquinas The 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. Scholasticism The 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.

4. Chapel Apse Aisle Choir Transept Crossing Nave

5. Ambulatory and radiating chapels Abbey Church of Saint-Denis Saint Denis, France 1140-1144 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 vaults pointed arches stained glass windows

6. Ambulatory and radiating chapels Abbey Church of Saint-Denis Saint Denis, France 1140-1144 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.

7. Plan of the choir Vaults of the ambulatory and radiating chapels of the choir Abbey Church of Saint-Denis Saint Denis, France 1140-1144

9. West facade of Chartres Cathedral Chartres, France begun 1134, rebuilt beginning 1194

10. Royal Portal, west facade Chartres Cathedral Chartres, France ca. 1145-1155

11. West Front, Royal Portals: Left portal, tympanum, The Ascension of Christ Chartres Cathedral of Notre Dame West Front, Central Portal, Tympanum Second Coming of Christ Chartres Cathedral of Notre Dame West facade, Right Portal, Tympanum Christ in the lap of the Virgin.

12. Old Testament queen and two kings jamb statues, doorway of Royal Portal Chartres Cathedral Chartres, France ca. 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 figures They 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.

14. West façade of Laon Cathedral Laon, France begun ca. 1190

15. Gothic nave elevations LaonParisChartresAmiens Arcade Gallery Triforium Clerestory

16. 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.

17. 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.

18. 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.

19. Plan and nave of Laon Cathedral Laon, France begun ca. 1190

20. nave of Laon Cathedral Laon, France begun ca. 1190

21. Gothic Rib Vaults

23. 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.

24. South façade of Notre Dame Cathedral Paris, France begun 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.”

25. South façade of Notre Dame Cathedral Paris, France begun 1163, nave & flying buttresses ca. 1180-1200, remodeled after 1225

27. Chartres Cathedral Chartres, France begun 1134 rebuilt beginning 1194

28. 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.

29. 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.

30. Gothic Cathedral

31. Virgin and Child and Angels (Notre Dame de la Belle Verrière) choir of Chartres Cathedral Chartres, France ca. 1170 stained glass 16 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).

32. Jesse Tree West facade of Chartres Cathedral Chartres, France ca. 1150-1170 stained glass

33. Rose Window and lancets north transept of Chartres Cathedral Chartres, France ca. 1220 stained glass rose approximately 43 ft. in diameter A rose window is circular. A lancet window is a tall, narrow window with a pointed arch.

34. 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.

35. Saints Martin, Jerome, and Gregory jamb statues, Porch of the Confessors South transept of Chartres Cathedral Chartres, France ca. 1220-1230 Gothic Sculpture Although 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.

36. Saint Theodore jamb statue, Porch of the Martyrs South transept of Chartres Cathedral Chartres, France ca. 1230

38. West facade of Amiens Cathedral

39. High Gothic structural elements Lancet 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.

40. Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont East facade of Amiens Cathedral Amiens, France begun 1220

41. Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont Choir vaults of Amiens Cathedral Amiens, France begun 1220 The four-part rib vault.

42. Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont nave of Amiens Cathedral Amiens, France begun 1220

43. Christ (Beau Dieu) trumeau statue of central doorway west facade of Amiens Cathedral Amiens, France ca. 1220-1235

44. West facade of Amiens CathedralWest facade of Chartres Cathedral Similarities ; There are two towers of unequal height and there is a rose window above the triforium. Differences The 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.

46. 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.

47. Nave of Reims Cathedral Reims, France begun ca. 1225-1290

48. Visitation jamb statues of central doorway west facade of Reims Cathedral Reims, France ca. 1230

50. 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.

51. 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.

52. 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.

54. West façade of Saint-Maclou Rouen, France ca. 1500-1540 Late Gothic Flamboyant style; The flamelike appearance of its pointed bar tracery.

56. Hall of the Cloth Guild Bruges, Netherlands begun. 1230

57. 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.

59. Villard de Honnecourt Figures based on geometric shapes folio 18 verso of a sketchbook from Paris, France ca. 1220-1235 ink on vellum 9 1/4 x 6 in. Villard de Honnecourt An early 13 th -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

60. God as architect of the world folio 1 verso of a moralized Bible from Paris, France ca. 1220-1230 ink, tempera and gold leaf on vellum 13 1/2 x 8 1/4 in.

61. Blanche of Castille, Louis IX and two monks dedication page (folio 8 recto) of a moralized Bible from Paris, France 1226-1234 ink, tempera and gold leaf on vellum 15 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.

62. Abraham and the Three Angels folio 7 verso of the Psalter of Saint Louis from Paris, France 1253-1270 ink, tempera and gold leaf on vellum 5 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.

63. Master Honoré David anointed by Samuel and battle of David and Goliath folio 7 verso of the Breviary of Phillipe le Bel from Paris, France 1296 ink and tempera on vellum 7 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.

64. Jean Pucelle David before Saul folio 24 verso of the Belleville Breviary from Paris, France 1325 ink and tempera on vellum 9 1/2 x 6 3/4 in.

65. Virgin of Jeanne d’Evreaux from the abbey church of Saint-Denis Saint-Denis, France 1339 silver gilt and enamel 27 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.

66. The Castle of Love and knights jousting lid of a jewelry casket from Paris, France ca. 1330-1350 ivory and iron 4 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.