Western Art History Approaches......7

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Art History

Sixth Edition

Chapter 17

Gothic Art of the Twelfth and Thirteenth Centuries

Learning Objectives (1 of 2)

17.a Identify the visual hallmarks of Gothic art and its regional variations for formal, technical, and expressive qualities.

17.b Interpret the meaning of works of Gothic art based on their themes, subjects, and symbols.

17.c Relate Gothic art and artists to their cultural, economic, and political contexts.

Learning Objectives (2 of 2)

17.d Apply the vocabulary and concepts relevant to Gothic art, artists, and art history.

17.e Interpret a work of Gothic art using the art historical methods of observation, comparison, and inductive reasoning.

17.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of Gothic art.

SCENES FROM GENESIS Detail of the Good Samaritan Window, south aisle of nave, Cathedral of Notre-Dame, Chartres, France. c. 1200–1210. Stained and painted glass. © 2016. A. Dagli Orti/Scala, Florence. [Fig. 17-01]

Gothic Europe

Beginning in the middle of the twelfth century, an estimated 2,700 Gothic-style churches were built in the Île-de-France region alone.

Advances in technology that included exterior buttressing allowed for larger windows and taller vaults.

"Gothic" was coined by artist and historian Giorgio Vasari.

EUROPE IN THE GOTHIC ERA The color changes on this map chart the gradual expansion of territory ruled by the king of France during the period when Gothic was developing as a modern French style. [Map 17-01]

The Rise of Urban and Intellectual Life

Towns became centers of artistic patronage, fostering communal identity through public projects.

Universities began to surpass monasteries and cathedral schools.

Scholasticism applied Aristotelian logic to Christian theology.

It was a system of reasoned analysis that developed in universities.

The Age of Cathedrals

Many cathedrals were built during 1150–1400, some of which replacing earlier churches destroyed in fires.

The enormous expense of such gigantic churches sometimes inspired resentment and rioting.

France and the Origins of the Gothic Style

The growing power of the Capetian monarchy provided a backdrop for the development of the Gothic style.

French kings consolidated royal authority and increased their domains and privileges.

Architectural demands in the capital may have provided the opportunity for new ways of planning.

The Birth of Gothic at the Abbey Church of Saint-Denis (1 of 2)

Construction of the abbey church of Saint-Denis began in the 1130s.

The impetus was the inability to accommodate crowds of pilgrims in the older building.

Abbot Suger supervised the building of a new west façade and narthex, but the choir is the area in which the Gothic style may have first appeared.

PLAN OF THE CHOIR (OF THE ABBEY CHURCH OF SAINT-DENIS France. 1140–1144. [Fig. 17-02a]

VIEW OF AMBULATORY AND APSE CHAPELS OF THE ABBEY CHURCH OF SAINT-DENIS France. 1140–1144. © akg-images/Bildarchiv Monheim. [Fig. 17-02b]

The Birth of Gothic at the Abbey Church of Saint-Denis (2 of 2)

The plan of the choir retains features of the Romanesque pilgrimage church, including a semicircular apse surrounded by an ambulatory.

Its stained-glass windows were saved from the French Revolution by Alexandre Lenoir.

The Flight into Egypt includes symbols from a popular apocryphal Gospel.

THE FLIGHT INTO EGYPT Detail of the Incarnation (Infancy of Christ) Window, axial choir chapel, abbey church of Saint-Denis. c. 1140–1144. The Glencairn Museum, Bryn Athyn, Pennsylvania. © The Glencairn Museum, Bryn Athyn, Pennsylvania. [Fig. 17-03]

Elements of Architecture: Rib Vaulting

The new model of architecture allowed a spacious, adaptable skeletal framework that supported rib vaulting.

Slender piers allowed for the tallest-yet churches with large expanses of stained glass.

ELEMENTS OF ARCHITECTURE: Rib Vaulting Rib vault with pointed arches. Kathy Mrozek

Art and Its Contexts: Abbot Suger on the Value of Art in Monasteries

Abbot Suger masterminded the reconstruction of Saint-Denis.

By describing and discussing the project, he spoke on the debate about the appropriateness of elaborate art in monasteries.

He believed the bronze doors should be marveled not for the gold, but the craftsmanship and subject matter.

Technique: Stained-Glass Windows

De Diversis Artibus provided knowledge about twelfth-century stained glass making.

Using grozing, artists would use an iron tool to chip the glass away to the precise shape that was needed and place it between the cames.

Artists used a vitreous paint to block light and delineate features.

The Cathedral of Notre-Dame at Chartres (1 of 7)

Saint-Denis became a prototype for a new style that resulted in competitive experimentation throughout France.

The site of a pre-Christian virgin-goddess cult and later dedicated to the Virgin Mary, Chartres became a major pilgrimage destination.

WEST FAÇADE, CHARTRES CATHEDRAL (CATHEDRAL OF NOTRE-DAME) France. West façade begun c. 1134; cathedral rebuilt after a fire in 1194; building continued to 1260; north spire 1507–1513. © akg-images/Schütze/Rodemann. [Fig. 17-04]

The Cathedral of Notre-Dame at Chartres (2 of 7)

The west façade of Notre-Dame at Chartres contains a sculptural program for its Royal Portal consisting of three doors with imposing scenes on each tympanum.

Christ enthroned in majesty is center; on the right, the Incarnation; on the left, the Ascension.

ROYAL PORTAL, WEST FAÇADE, CHARTRES CATHEDRAL c. 1145–1155. © Achim Bednorz, Cologne. [Fig. 17-05]

The Cathedral of Notre-Dame at Chartres (3 of 7)

Statues flanking all three openings on the jambs contain figures with idealized heads that radiate serenity.

This contrasts the energized, dynamic figures on the portals of Romanesque churches.

ROYAL PORTAL, WEST FAÇADE, CHARTRES CATHEDRAL Detail of prophets and ancestors of Christ (kings and queens of Judea), right side, central portal. c. 1145–1155. © Achim Bednorz, Cologne. [Fig. 17-06]

The Cathedral of Notre-Dame at Chartres (4 of 7)

A contemporaneous painting, Masons at Work, shows a building site with laborers using vast resources to complete their work.

Work grew yet more costly as the structure rose higher in the 1220s.

People opposed the building because of the burden of heavier taxes.

MASONS AT WORK Detail of a miniature from a Picture Bible made in Paris. 1240s. The Morgan Library and Museum, New York. MS. M638, fol. 3r. © 2016. Photo Pierpont Morgan Library/Art Resource/Scala, Florence. [Fig. 17-07]

The Cathedral of Notre-Dame at Chartres (5 of 7)

Architecture

Chartres codified Gothic structural devices.

Pointed arches and ribbed groin vaults

Flying buttresses

A short triforium

Lancets

Stained glass

PLAN, CHARTRES CATHEDRAL 1194–c. 1220. [Fig. 17-08a]

INTERIOR LOOKING EAST, CHARTRES CATHEDRAL 1194–c. 1220. © Achim Bednorz, Cologne. [Fig. 17-08b]

Art and Its Contexts: Master Masons

Construction could be delayed by lack of funding or time needed for mortar to solidify, so master masons moved from job to job.

Masons were at great risk of injury, particularly from falls, and not all received paid leave.

From the thirteenth century on, masons were buried in cathedrals they built.

Elements of Architecture: The Gothic Church

The Latin cross plan dominated Gothic churches, and most had a three-story elevation.

Flying buttresses supported nave vaults.

Throughout, walls were decorated with tracery and stringcourse moldings.

Portal façades were flanked by towers ornamented with pinnacles and finials.

SCHEMATIC DRAWING OF CHARTRES CATHEDRAL [Fig. 17-09]

The Cathedral of Notre-Dame at Chartres (6 of 7)

Stained Glass

By 1260, glass painters had installed 22,000 square feet of stained glass in 176 windows.

Most of the stained glass of Chartres Cathedral is intact, including the Good Samaritan Window in the nave aisle.

Its message is a parable told by Jesus to teach a moral truth.

GOOD SAMARITAN WINDOW South aisle of nave, Chartres Cathedral. c. 1200–1210. Stained and painted glass. Sonia Halliday Photographs. [Fig. 17-10]

The Cathedral of Notre-Dame at Chartres (7 of 7)

Stained Glass

Other windows tell moralizing tales of saints and heroes or depict iconic ensembles.

The rose window floats above five lancets that glorify the Virgin Mary.

Fleurs-de-lis appear in a shield under St. Anne and quatrefoils within the rose, representing the lineage of King Louis IX.

ROSE WINDOW AND LANCETS, NORTH TRANSEPT, CHARTRES CATHEDRAL c. 1230–1235. Stained and painted glass. © Angelo Hornak/Corbis. [Fig. 17-11]

The Cathedral of Notre-Dame in Reims (1 of 3)

Reims is famous for its sculpture, particularly that of the Central Portal.

The west façade portrays the Visitation in the right pair of statues.

Stylistically, their idealized faces resemble Roman statues.

PLAN OF CATHEDRAL OF NOTRE-DAME, REIMS France. Begun in 1211. [Fig. 17-12]

The Cathedral of Notre-Dame in Reims (2 of 3)

Reims is famous for its sculpture, particularly that of the Central Portal.

The left pair of statues portrays the Annunciation.

These were the work of a different sculptor, who created tall, graceful figures in International Gothic Style.

WEST FAÇADE, CATHEDRAL OF NOTRE-DAME, REIMS 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 1311; additional work 1406-1428. © zechal/123RF. [Fig. 17-13]

CENTRAL PORTAL, RIGHT SIDE, WEST FAÇADE, REIMS CATHEDRAL Annunciation (left pair: Mary [right] c. 1240, angel [left] c. 1250) and Visitation (right pair: Mary [left] and Elizabeth [right] c. 1230). © Angelo Hornak/Corbis. [Fig. 17-14]

The Cathedral of Notre-Dame in Reims (3 of 3)

Perfected technique of bar tracery made more expansive walls of stained glass possible.

It replaced plate tracery.

Thin stone bars call mullions form a lacy framework.

INTERIOR LOOKING WEST, REIMS CATHEDRAL Begun 1211; nave c. 1220. © akg-images/De Agostini Picture Lib./G. Dagli Orti. [Fig. 17-15]

Villard de Honnecourt

A set of 33 sheets of parchment signed by Villard de Honnecourt records individual details from the cathedrals of Cambrai, Chartres, Laon, and Reims.

Villard recorded points of interest to him including animals, furnishings, and construction devices.

It is argued that he did not have a great knowledge of structural systems.

Villard de Honnecourt DRAWINGS OF THE INTERIOR AND EXTERIOR ELEVATION OF THE NAVE OF REIMS CATHEDRAL c. 1230. Ink on vellum, 9-1/4 × 6" (23.5 × 15.2 cm). Bibliothèque Nationale, Paris. MS. fr. 19093. Bibliotheque nationale de France. [Fig. 17-16]

Villard de Honnecourt SHEET OF DRAWINGS WITH GEOMETRIC FIGURES c. 1230. Ink on vellum, 9-1/4 × 6" (23.5 × 15.2 cm). Bibliothèque Nationale, Paris. MS. fr. 19093. Bibliotheque nationale de France. [Fig. 17-17]

Art in the Age of St. Louis (1 of 4)

Paris became the artistic center of Europe, creating a style called the "Court Style."

Small-scale objects in precious materials and illuminated manuscripts were prized.

Art in the Age of St. Louis (2 of 4)

The Sainte-Chapelle in Paris

The Sainte-Chapelle in Paris pushed the use of stained glass to its limit.

Narrative cycles are easily legible in spite of their complexity.

Standard themes relating to the Mass decorate the sanctuary's hemicycle.

Among scenes of kings and queens of Judah are scenes of Louis IX and the French royal house.

UPPER CHAPEL INTERIOR, THE SAINTE-CHAPELLE Paris. 1239–1248. © F1 ONLINE/SuperStock. [Fig. 17-18]

SCHEMATIC DRAWING OF THE SAINTE-CHAPELLE Paris. 1239–1248. © Dorling Kindersley. [Fig. 17-19]

Art in the Age of St. Louis (3 of 4)

The Sainte-Chapelle in Paris

This chapel within the royal palace was commissioned to house Louis IX's relics of Christ's Passion.

The structure is supported by external buttressing that leaves the interior free of clutter so the viewer can focus on the reliquary.

HOLOFERNES' ARMY CROSSING THE EUPHRATES RIVER Detail of the Judith Window, the Sainte-Chapelle, Paris. c. 1245. Stained, painted, and leaded glass, diameter 23-5/16" (59.2 cm). Philadelphia Museum of Art. © 2016. Photo The Philadelphia Museum of Art/Art Resource/Scala, Florence [Fig. 17-20]

Art in the Age of St. Louis (4 of 4)

Illuminated Manuscripts

The three-volume Moralized Bible from about 1230 pairs scriptural passages with allegorical visual interpretations.

One page represents Louis IX and Queen Blanche of Castille enthroned against a gold-leaf background.

A design of stacked medallions outlines a page with scenes regarding the Apocalypse.

QUEEN BLANCHE OF CASTILE AND KING LOUIS IX From a Moralized Bible made in Paris. 1226–1234. Ink, tempera, and gold leaf on vellum, each page 15 × 10-1/2" (38 × 26.6 cm). The Morgan Library and Museum, New York. MS. M. 240, fol. 8r. © 2016. Photo Pierpont Morgan Library/Art Resource, NY/Scala, Florence. [Fig. 17-21]

MORALIZATIONS FROM THE APOCALYPSE From a Moralized Bible made in Paris. 1226–1234. Ink, tempera, and gold leaf on vellum, each page 15 × 10-1/2" (38 × 26.6 cm). The Morgan Library and Museum, New York. MS. M. 240, fol. 6r. © 2016. Photo Pierpont Morgan Library/Art Resource, NY/Scala, Florence. [Fig. 17-22]

England

Textile production dominated manufacture and trade due to the popularity of English embroidery.

Influence of the French Gothic style was tempered by local materials and methods.

Manuscript Illumination (1 of 2)

Matthew Paris

This monk compiled a series of historical works, adding marginal pictures.

A nearly full-page image of the Virgin and Child includes a named portrait of the artist.

He gazes not at the holy pair, but at the words in front of him, which he appears to hold as though pushing them up to the objects of devotion.

Matthew Paris SELF-PORTRAIT KNEELING BEFORE THE VIRGIN AND CHILD From the Historia Anglorum, made in St. Albans, England. 1250–1259. Ink and color on parchment, 14 × 9-3/4" (35.8 × 25 cm). The British Library, London. Royal MS. 14.c.vii, fol. 6r. © The British Library Board (Royal 14 C Vll, fol.6r) [Fig. 17-23]

Manuscript Illumination (2 of 2)

The Windmill Psalter

The letter B fills the entire left-hand page at the beginning of Psalm 1.

The interlaced tendrils and figures represent the Tree of Jesse, a genealogy of Jesus's ancestors.

The second letter, E, fills up half as much space with a scene from the Judgment of Solomon.

A CLOSER LOOK: The Opening of Psalm 1 From the Windmill Psalter, made in England, probably London. Late 13th century. Ink, color, and gold on vellum, each page 12-3/4 × 8-3/4" (32.3 × 22.2 cm). The Morgan Library and Museum, New York. MS. 102, fols. lv-2r. © 2016. Photo Pierpont Morgan Library/Art Resource/Scala, Florence. [Fig. 17-24]

Architecture (1 of 4)

English churches did not emphasize height as much as length of the nave.

Salisbury Cathedral

The Cathedral of Salisbury typifies the English style.

It is in a park-like setting with attached cloister and chapter house.

SALISBURY CATHEDRAL England. Church building 1220–1258; west façade finished 1265; spire c. 1320–1330; cloister and chapter house 1263–1284. © Skyscan/Corbis. [Fig. 17-25]

Architecture (2 of 4)

Salisbury Cathedral

The crossing tower boasts a spire of extraordinary height.

The interior reflects Norman traditions.

A distinctive plan with wide double transepts and a spacious sanctuary recalls a monastic church.

Horizontal movement of the arcades directs worshippers' gaze to the altar.

PLAN OF SALISBURY CATHEDRAL [Fig. 17-26]

INTERIOR LOOKING EAST, SALISBURY CATHEDRAL © Robert Preston Photography/Alamy Stock Photo. [Fig. 17-27]

Architecture (3 of 4)

Military and Domestic Architecture

Western European knights had versions of Muslim- and Byzantine-inspired fortifications built upon returning home.

Outer enclosing walls were straightened and a double tower guarded the gate.

Interior spaces were filled with living quarters as well as barns and stables for animals and war horses.

Architecture (4 of 4)

Stokesay Castle

This manor is a surviving example of a fortified country house.

Large windows lining the hall look across a moat and into the countryside.

At both ends of the open hall were two-story additions including retiring rooms.

Palaces followed the same design, but were simply larger.

EXTERIOR OF THE GREAT HALL, STOKESAY CASTLE England. Late 13th century. Fotomicar/Fotolia. [Fig. 17-28]

EXTERIOR OF THE GREAT HALL, STOKESAY CASTLE England. Late 13th century. [Fig. 17-28]

Germany and the Holy Roman Empire

The Holy Roman Empire ceased to be a significant power in the thirteenth century.

The French Gothic style permeated the western Germanic territories with regional adaptations and innovations.

Architecture (1 of 2)

Germany developed the hall church, an open, light-filled space with a nave and aisles of equal height that could accommodate large crowds.

Church of St. Elizabeth of Hungary in Marburg

The plan of this church is an early German form, but inside, closely spaced piers support the ribbed vault.

Architecture (2 of 2)

The Old-new Synagogue

This is the oldest functioning synagogue in Europe.

It only has two aisles, each with three bays supported by walls and two octagonal piers.

Medieval synagogues hosted gatherings for men to read and discuss the Torah, which was located on the east wall.

INTERIOR, OLD-NEW SYNAGOGUE (ALTNEUSCHUL) Prague, Bohemia (Czech Republic). c. late 13th century; bimah after 1483. © akg-images/Erich Lessing. [Fig. 17-31]

Sculpture (1 of 3)

The most creative centers of sculpture were the Rhine River Valley and the Mosan region.

Shrine of the Three Kings

Nicholas of Verdun was inspired by ancient Roman art and created this reliquary shaped in the form of a basilican church.

It features a jeweler's level of detail.

Nicholas of Verdun and workshop SHRINE OF THE THREE KINGS Cologne Cathedral, Germany. c. 1190–c. 1205/10. Silver and gilded bronze with enamel and gemstones, 5'8" × 6' × 3'8" (1.73 × 1.83 × 1.12 m). © akg-images/Erich Lessing. [Fig. 17-32]

Sculpture (2 of 3)

St. Maurice

This statue in Magdeburg Cathedral represents the saint Maurice as a black African, acknowledging his Egyptians origins and a German interest in depicting realism.

Details of his chain mail and riveted leather seem as though they were carved from a living model.

ST. MAURICE Magdeburg Cathedral, Magdeburg, Germany. c. 1240–1250. Dark sandstone with traces of polychromy. © akg-images/Hilbich. [Fig. 17-33]

Sculpture (3 of 3)

Ekkehard and Uta

The sculptor of these works created highly individualized figures and faces that do not represent portrait likenesses.

Polychromy survives on the surface, indicating that color was originally applied.

EKKEHARD AND UTA West chapel, Naumburg Cathedral, Germany. c. 1245–1260. Stone with polychromy, height approx. 6'2" (1.88 m). © akg-images/Erich Lessing. [Fig. 17-34]

Italy

Artists began to emerge as independent agents due to organizations of prosperous merchants.

New religious orders known as mendicants arose.

The Franciscans were the first, founded by St. Francis of Assisi in 1209.

Followers were called brothers, or friars.

Sculpture of the Pisano Family (1 of 2)

Nicola Pisano's Pulpit at Pisa

The eloquently carved marble pulpit in the Pisa Cathedral contains a scene of Annunciation, Nativity, and Adoration of the Shepherds in independent composition.

Roman sarcophagi may have influenced the format, style, and technique of these heavy figures.

Nicola Pisano PULPIT Baptistery, Pisa, Italy. 1260. Marble, height approx. 15' (4.6 m). © Studio Fotografico Quattrone, Florence. [Fig. 17-35]

Nicola Pisano ANNUNCIATION, NATIVITY, AND ADORATION OF THE SHEPHERDS Detail of pulpit, Baptistery, Pisa, Italy. 1260. Marble, 33-1/2 × 44-1/2" (85 × 113 cm). © Studio Fotografico Quattrone, Florence. [Fig. 17-36]

Sculpture of the Pisano Family (2 of 2)

Giovanni Pisano's Pulpit at Pistoia

Nicola's son carved a pulpit similar to his father's in conception, but significantly different in execution.

In Annunciation, Nativity, and Adoration of the Shepherds, he shows a young Mary that contrasts previous images of her looking like a Roman matron.

Giovanni Pisano ANNUNCIATION, NATIVITY, AND ADORATION OF THE SHEPHERDS Detail of pulpit, Sant'Andrea, Pistoia, Italy. 1298–1301. Marble, 33" × 40-1/8" (83 × 102 cm). © 2016. Photo Scala, Florence - courtesy Diocesi di Pistoia, Ufficio Beni Culturali. [Fig. 17-37]

Painting (1 of 2)

The imported maniera greva influenced style and technique, introducing an emphasis on pathos and emotion.

Painted Crucifixes

An example attributed to Coppo di Marcovaldo represents a monumental image of a suffering Christ with closed eyes and a bleeding, sagging body, flanked with narrative scenes.

Coppo di Marcovaldo CRUCIFIX From the Franciscan convent of Santa Chiara, San Gimignano, Italy. c. 1250–1270. Tempera and gold on wood panel, 9'7-3/8" × 8'1-1/4" (2.93 × 2.47 m). Pinacoteca, San Gimignano, Italy. © 2016. Photo Fine Art Images/Heritage Images/ Scala, Florence. [Fig. 17-38]

Painting (2 of 2)

The Church of St. Francis at Assisi

Upper and lower churches as well as a crypt below were elements of this unusually elaborate building.

The Miracle of the Crib at Greccio portrays St. Francis making the first Christmas manger scene in the church.

The focus of the narrative is confined to the lower right, and viewers are invited to imagine themselves in the space.

SCHEMATIC DRAWING OF THE CHURCH OF ST. FRANCIS, ASSISI Umbria, Italy. 1228–1253. Maltings Partnership © Dorling Kindersley. [Fig. 17-39]

THE MIRACLE OF THE CRIB AT GRECCIO From a cycle of the Life of St. Francis, church of St. Francis, Assisi. Late 13th or early 14th century. Fresco. [Fig. 17-39]

Think About It (1 of 2)

Characterize the most important of the technological innovations and sociocultural formations that made the "Age of Cathedrals" possible.

Explain how manuscript illumination was used to convey complex theological ideas during the Gothic period. Analyze the iconography of one manuscript discussed in this chapter.

How was St. Francis's message of empathy conveyed in the frescos of the church of St. Francis in Assisi?

Think About It (2 of 2)

Analyze Salisbury Cathedral in England and the German church of St. Elizabeth of Hungary in Marburg. How does each reflect characteristics of French Gothic style, and how does each depart from that style and express architectural features characteristic of its own region?