AP Art History Chapter 13: Gothic Art Mrs. Cook

Total Page:16

File Type:pdf, Size:1020Kb

AP Art History Chapter 13: Gothic Art Mrs. Cook AP Art History Chapter 13: Gothic Art Mrs. Cook Define these terms: Key Cultural & Religious Terms: Scholasticism, disputatio, indulgences, lux nova, Annunciation, Visitation, opere francigeno, opus modernum Key Art Terms: stained glass, glazier, flashing, cames, leading, plate tracery, bar tracery, fleur‐de‐lis, Rayonnant, Flamboyant, mullions, moralized Bible, breviary, Perpendicular style, ambo, altarpiece, triptych, pieta Key Architectural Terms: altar frontal, rib vault, armature, webs, pointed arch, jamb figures, trumeau, triforium, oculus, flying buttress, pinnacle, vaulting web, diagonal rib, transverse rib, springing, clerestory, lancet, nave arcade, compound pier (cluster pier), shafts (responds), ramparts, battlements, crenellations, merlons, crenels, fan vaults, pendants, Gothic Revival, Hallenkirche (hall church) Exercises for Study: 1. Describe the key architectural features introduced in the French cathedral design in the Gothic era. 2. Describe features that make English Gothic cathedrals distinct from their French or German counterparts. 3. Describe the late Gothic Rayonnant and Flamboyant styles, and give examples of each. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Old Testament kings and queen, jamb statues, Chartres Cathedral (Fig. 13‐7); Virgin and Child (Virgin of Paris), Notre‐Dame, Paris (Fig. 13‐26) • Dates: • Composition/posture of figures: • Relation to architecture: B. Saint Theodore, jamb statue, left portal, Porch of the Martyrs, Chartres Cathedral (Fig. 13‐18); Naumburg Master, Ekkehard and Uta, Naumburg Cathedral (Fig. 13‐48): • Dates: • Subjects: • Composition/posture of figures: • Relation to architecture: C. Interior of Saint Elizabeth, Marburg, Germany (Fig. 13‐53); Interior of Laon Cathedral, Laon, France (Fig. 13‐9) • Dates & locations: • Nave elevation: • Aisles: • Ceiling vaults: • Other architectural features: Chapter Questions: 1. Giorgi Vasari first used "Gothic" to describe medieval art and architecture as______and ______(365) 2. Read the beige insert on page 367. Within 15 years of becoming abbot of ________-_______, ________ began to rebuild its Carolingian basilica. His aim was to increase ______ and rebuild France's royal church in grand fashion. 3. Read the beige insert on page 375. How are stained-glass windows made? 4. How was light used differently in Byzantine and Gothic architecture? (376) 5. Read the beige insert on page 385. Who was patron to the Parisian Rayonnant court style? (385) 6. What are some difference of English Gothic and French Gothic? (389) Explain the differences on Salisbury Cathedral. (389) 7. Compare and contrast (figure 13-46) the Death of the Virgin with (figure 13-24) the Visitation. (393) 8. Compare and contrast (figure 13-47) the Crucifixion with (figure 11-28) the Gero Crucifix. (394) 9. Compare and contrast (figure 13-49) Equestrian portrait with (figure 11-12) Equestrian portrait of Charlemagne of Charles the Bald with (figure 7-59) with Equestrian statue of Marcus Aurelius. (395) AP Art History Chapter 13: Gothic Art Mrs. Cook .
Recommended publications
  • The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
    Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions
    [Show full text]
  • The Digital Nature of Gothic
    The Digital Nature of Gothic Lars Spuybroek Ruskin’s The Nature of Gothic is inarguably the best-known book on Gothic architecture ever published; argumentative, persuasive, passionate, it’s a text influential enough to have empowered a whole movement, which Ruskin distanced himself from on more than one occasion. Strangely enough, given that the chapter we are speaking of is the most important in the second volume of The Stones of Venice, it has nothing to do with the Venetian Gothic at all. Rather, it discusses a northern Gothic with which Ruskin himself had an ambiguous relationship all his life, sometimes calling it the noblest form of Gothic, sometimes the lowest, depending on which detail, transept or portal he was looking at. These are some of the reasons why this chapter has so often been published separately in book form, becoming a mini-bible for all true believers, among them William Morris, who wrote the introduction for the book when he published it First Page of John Ruskin’s “The with his own Kelmscott Press. It is a precious little book, made with so much love and Nature of Gothic: a chapter of The Stones of Venice” (Kelmscott care that one hardly dares read it. Press, 1892). Like its theoretical number-one enemy, classicism, the Gothic has protagonists who write like partisans in an especially ferocious army. They are not your usual historians – the Gothic hasn’t been able to attract a significant number of the best historians; it has no Gombrich, Wölfflin or Wittkower, nobody of such caliber – but a series of hybrid and atypical historians such as Pugin and Worringer who have tried again and again, like Ruskin, to create a Gothic for the present, in whatever form: revivalist, expressionist, or, as in my case, digitalist, if that is a word.
    [Show full text]
  • Flying Buttresses • Openings and Spans • Bar Tracery and Linear Elements • Large Scale Construction and Transmission of Knowledge
    HA2 Autumn 2005 Gothic Architecture: design and history Outline • Main design issues and innovations • Structural outline • Chronological development • Classical styles (France) • Outside the canon • Gothic in the UK • Case study: Burgos Cathedral Gothic Architecture: design and history 2 Gothic Architecture: design and history Dimitris Theodossopoulos 1 HA2 Autumn 2005 Main design issues • Definition – a sharp change from Romanesque? (St Denis 1130) • Major elements pre-existing (ribs and shafts, pointed arches, cross vaults) • Composition and scale • Light and height • Role of patrons (royal vs. secular foundations) and cathedral buildings • Strong technological input • European regional characteristics • Decline: decorative character and historical reasons Gothic Architecture: design and history 3 Main design issues Gothic Architecture: design and history 4 Gothic Architecture: design and history Dimitris Theodossopoulos 2 HA2 Autumn 2005 Technological innovations • Dynamic composition • Dynamic equilibrium • Linearity – origin in Norman timber technology? • Role of the ribs (and shafts) • Spatial flexibility of cross vaults – use of pointed arch • Flying buttresses • Openings and spans • Bar tracery and linear elements • Large scale construction and transmission of knowledge Gothic Architecture: design and history 5 The role of geometry Gothic Architecture: design and history 6 Gothic Architecture: design and history Dimitris Theodossopoulos 3 HA2 Autumn 2005 Light Contrast Durham Cathedral (1093-1133) and Sainte Chapelle in Paris
    [Show full text]
  • On the Characteristic Interpenetrations of the Flamboyant Style
    ON THE CHARACTERISTIC INTERPENETRATIONS OF THE FLAMBOYANT STYLE. BY R. WILLIS, M. A. F. R. S. &c. JACKSONIAN PROFESSOR IN THE UNIVERSITY OF CAMBRIDGE, AND HONORARY MEMBER OF THE INSTITUTE OF BRITISH ARCHITECTS. AMONGS~ other characters that distinguish the later s.tyles of Gothic on the contment from our own contemporary Perpendicular style, there may be observed a much greater and more fanciful intricacy of parts, contrived apparently more with a view to display difficulties overcome than beauties of art. Hence an excessive employment of interpenetrating surfaces, especially in the Flamboyant Style. In English examples a moulding may sometimes be found which penetrates some projecting member, and appears on the other side, as for example in jig. I, which represents a portion of the base of one of the turrets of King's College Chapel. The string moulding at 4. A appears on the face of the plinths of the angle buttresses as if it had penetrated their substance, or rather the whole arrangement of the bases of the' turrets and of the buttresses respectively, appears to suggest a mutual pene­ tration or interpenetration of the two. Examples of this kind are not common in English work, and are confined merely to the interferences of adjacent necessary members of the architectural arrangement. In the Flamboyant style, on the contrary, interpenetration occurs so frequently as to con .. EgJ. stitute a characteristic, and is produced not merely between two neighbouring architectural members, but new members are also introduced for the mere purpose of showing interpenetrations. Thus, as we shall see, two different bases may be given to the same shaft, or even two or more different turrets with pinnacles may be placed in an identical M 82 WILLIS ON THE INTERPENETRATIONS OF position on the plan, and made to interfere and interpenetrate throughout their entire height from the base upwards in a manner that defies description, and can only be illustrated by drawings.
    [Show full text]
  • The Analysis on the Collapse of the Tallest Gothic Cathedral
    ctbuh.org/papers Title: The Analysis on the Collapse of the Tallest Gothic Cathedral Author: Seong-Woo Hong, Professor, Kyungwoon University Subject: Structural Engineering Keyword: Structure Publication Date: 2004 Original Publication: CTBUH 2004 Seoul Conference Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Seong-Woo Hong The Analysis on the Collapse of the Tallest Gothic Cathedral Seong-Woo Hong1 1 Professor, School of Architecture, Kyungwoon University Abstract At the end of the twelfth century, a new architectural movement began to develop rapidly in the Ile-de-France area of France. This new movement differed from its antecedents in its structural innovations as well as in its stylistic and spatial characteristics. The new movement, which came to be called Gothic, is characterized by the rib vault, the pointed arch, a complex plan, a multi-storied elevation, and the flying buttress. Pursuing the monumental lightweight structure with these structural elements, the Gothic architecture showed such technical advances as lightness of structure and structural rationalism. However, even though Gothic architects or masons solved the technical problems of building and constructed many Gothic cathedrals, the tallest of the Gothic cathedral, Beauvais cathedral, collapsed in 1284 without any evidence or document. There have been two different approaches to interpret the collapse of Beauvais cathedral: one is stylistic or archeological analysis, and the other is structural analysis. Even though these analyses do not provide the firm evidence concerning the collapse of Beauvais cathedral, this study extracts some confidential evidences as follows: The bay of the choir collapsed and especially the flying buttress system of the second bay at the south side of the choir was seriously damaged.
    [Show full text]
  • Rayonnant Style, French Building Style (13Th Century) That Represents the Height of Gothic Architecture
    Rayonnant style, French building style (13th century) that represents the height of Gothic architecture. During this period architects became less interested in achieving great size than in decoration, which took such forms as pinnacles, moldings, and especially window tracery. The style’s name reflects the radiating character of the rose window. Other features include the thinning of vertical supporting members, the enlargement of windows, and the combination of the triforium gallery and clerestory into one large glazed area, until walls became largely undifferentiated screens of tracery, mullions, and glass. Flamboyant style, phase of late Gothic architecture in 15th-century France and Spain. It evolved out of the Rayonnant style’s increasing emphasis on decoration. Its most conspicuous feature is the dominance in stone window tracery of a flamelike S- shaped curve. Wall surface was reduced to the minimum to allow an almost continuous window expanse. Structural logic was obscured by covering buildings with elaborate tracery. Flamboyant Gothic, which became increasingly ornate, gave way in France to Renaissance forms in the 16th century. Perpendicular style, Phase of late Gothic architecture in England roughly parallel in time to the French Flamboyant style. The style, concerned with creating rich visual effects through decoration, was characterized by a predominance of vertical lines in stone window tracery, enlargement of windows to great proportions, and conversion of the interior stories into a single unified vertical expanse. Fan vaults, springing from slender columns or pendants, became popular. In the 16th century, the grafting of Renaissance elements onto the Perpendicular style resulted in the Tudor style. Manueline, Portuguese Manuelino, particularly rich and lavish style of architectural ornamentation indigenous to Portugal in the early 16th century.
    [Show full text]
  • Rose Window ­ Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia
    6/19/2016 Rose window ­ Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multi­petalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral.
    [Show full text]
  • A Catholic Architect Abroad: the Architectural Excursions of A.M
    A CATHOLIC ARCHITECT ABROAD: THE ARCHITECTURAL EXCURSIONS OF A.M. DUNN Michael Johnson Introduction A leading architect of the Catholic Revival, Archibald Matthias Dunn (1832- 1917) designed churches, colleges and schools throughout the Diocese of Hexham and Newcastle. Working independently or with various partners, notably Edward Joseph Hansom (1842-1900), Dunn was principally responsible for rebuilding the infrastructure of Catholic worship and education in North- East England in the decades following emancipation. Throughout his career, Dunn’s work was informed by first-hand study of architecture in Britain and abroad. From his first year in practice, Dunn was an indefatigable traveller, venturing across Europe, North Africa and the Middle East, filling mind and sketchbook with inspiration for his own designs. In doing so, he followed in the footsteps of Catholic travellers who had taken the Grand Tour, a tradition which has been admirably examined in Anne French’s Art Treasures in the North: Northern Families on the Grand Tour (2009).1 While this cultural pilgrimage was primarily associated with the landed gentry of the eighteen century, Dunn’s travels demonstrate that the forces of industrialisation and colonial expansion opened the world to the professional middle classes in the nineteenth century.2 This article examines Dunn’s architectural excursions, aiming to place them within the wider context of travel and transculturation in Victorian visual culture. Reconstructing his journeys from surviving documentary sources, it seeks to illuminate the processes by which foreign forms came to influence architectural taste during the ‘High Victorian’ phase of the Gothic Revival. Analysing Dunn’s major publication, Notes and Sketches of an Architect (1886), it uses contemporaneous reviews in the building press to determine how this illustrated record of three decades of international travel was received by the architectural establishment.
    [Show full text]
  • Gothic Architecture
    1 Gothic Architecture. The pointed Gothic arch is the secret of the dizzy heights the cathedral builders were able to achieve, from around the 13th Century. Columns became more slender, and vaults higher. Great open spaces and huge windows became the or- der of the day, as the pointed arch began to replace the rounded Roman-style arches of the Romanesque period. We will compare the two styles. On the left are the later arches of Salisbury Cathedral, c. 1230, in the Gothic style with elegant and slender piers. On the right are the Romanesque arches of Gloucester Cathedral with their huge cylindrical supports of faced stone filled with rubble, from around 1130. This is a drawing of praying hands by In this diagram Albrecht Dürer, you can see the 1508, in the effect of these Albertina Gallery in forces on a Gothic Vienna. If you hold pointed arch, your hands like this where some of the and imagine some- thrust is upwards, one pressing down alleviating part of on your knuckles, the weight of the you’ll feel your vault. finger ends move upwards. 2 There are different types of Gothic windows. Early English lancet windows, built 13th Century, plate tracery St. Dunstan’s Church, 1234, east end of Southwell Minster, in the south aisle west Canterbury. Early English Nottinghamshire, England window, All Saints Church, Decorated Style, 13th Hopton, Suffolk, England Century. The first structural windows with pointed arches were built in England and France, and be- gan with plain tall and thin shapes called lancets. By the 13th Century they were decorating the tops of the arches and piercing the stonework above with shapes such as this 4 leaf clover quatrefoil.
    [Show full text]
  • 9781107025578 Index.Pdf
    Cambridge University Press 978-1-107-02557-8 - The Sainte-chapelle and the Construction of Sacral Monarchy: Royal Architecture in Thirteenth-Century Paris Meredith Cohen Index More information INDEX Aachen Billot, Claudine, 166 Charlemagne’s palace chapel, 117 Biram, Jean, 177 as prototype for Sainte-Chapelle, 117–20 bishop’s chapel (building type), 135–8 relics, 117 Blanche of Castile, 51 , 146 , 147 , 162 , 167 , 176 , Abbot Suger, 143 196 , 199 Abelard, Peter, 28 architectural patronage, 120–1 , 183 Adam of Senlis, bishop, 152 Blezzard, Judith, 168 Agnès de Méran, 63 Bloch, Marc, 143 Albertus Magnus, 8 Boeswillwald, Émile, 158 Alexander, Jonathan, 168 Boileau, Étienne, 173 , 194 Alfonse of Poitiers Böker, Hans, 119 patronage of Friars of the Sack, 178 Boniface VIII, pope, 152 Alfonso II of Asturias, 120 Boniface, archibishop of Mayence, 142 Amiens, city of, 111 Bons-Enfants, 177 , 178 cathedral, 34 , 92 Bony, Jean, 96 , 106 masons, 108–11 Boulet-Sautel, Marguerite, 170 Robert de Luzarches, 110 Bourdieu, Pierre, 7 Thomas de Cormont, 110 habitus, 7 radiating chapels, 100 symbolic power, 7 relation to the Sainte-Chapelle, 106–12 Branner, Robert, 3 , 15 , 47 , 96 , 99 , tracery, 100 163 , 172 Aquinas, Thomas, 8 responses to, 3 Aristotle, 7 Brenk, Beat, 82 , 162 Arnold II von Wied, archbishop of Cologne, 122 Breviary of Châteauroux, 150 Arsenal ms. 114. See Sainte-Chapelle: ordinals Brie-Comte-Robert art history Saint-Étienne “theoretical turn,” 3 triforium Autun plate tracery, 103 Saint-Lazare porch, 117 Caen Saint-Étienne Baker, Nick, 183 plate tracery, 102 Bar Sauma, 161 Cambrai Cathedral, 35 , 96 Battle of Bouvines.
    [Show full text]
  • Computer-Generated Gothic Tracery with a Motif-Oriented Approach
    Computer-generated Gothic Tracery with a Motif-oriented Approach Joe Takayama* *Kyushu Sangyo University, [email protected] Abstract: Drawing decorative ornaments as computer-generated imagery (CGI) is both time- and energy-intensive because it usually involves complicated motifs. Therefore, a procedural approach that is applicable to a variety of fields may be useful for drawing ornaments efficiently. Consequently, an algorithmic approach for generating complicated ornaments has been proposed in this study. This research specifically focuses on Gothic tracery, which is widely found in European architecture from the 12th to 15th centuries. Tracery constitutes stonework elements that support glass panes in windows. Although Gothic tracery comprises a wide variety of complicated patterns, it usually consists of combinations of circles with a few straight lines. These combinations and geometric operations can generate various motifs. However, it is difficult to extract the rules for obtaining desirable patterns from circle arrangements because of variations in geometric situations. Therefore, we attempted through this study to draw Gothic tracery using a motif-oriented approach whereby an algorithm automatically seeks an appropriate position in a closed 2D space for placement of the motif. Thus, the algorithm determines the arrangement of circles required to draw the motif. This algorithm can produce some principal Gothic-style motifs automatically, and recursive execution of the algorithm can generate complicated patterns. Keywords: Computer-generated imagery, Ornaments, Gothic tracery, Procedural approach 1. Introduction A procedural approach in CGI has been used mainly to represent natural objects and natural phenomena that are too complicated to be drawn or animated by artists [5].
    [Show full text]
  • 402 Great Spires: Skyscrapers of the New Jerusalem Missing the Point? the Death and Afterlife of Great Spires 401
    402 Great Spires: Skyscrapers of the New Jerusalem Missing the Point? The Death and Afterlife of Great Spires 401 PART V: SPIRES IN THE POSTMEDIEVAL WORLD Chapter 11: Missing the Point? The Death and Afterlife of Great Spires The post-medieval history of great spires and their reception falls, roughly speaking, into four distinct phases, which might be termed demise, sublimation, revival, and contemplation. By the end of the sixteenth century, virtually all the great spire projects in Europe had ground to a halt, as the artistic, cultural, and religious practices of the Middle Ages gave way to those of the early modern era. Crucial factors in this transformation include the spread of Italianate Renaissance classicism, the related rise of royal and courtly patronage, and the shock of the Reformation and its aftermath. In the period from roughly 1530 to 1800, therefore, the Gothic style was almost entirely forsaken. Significantly, however, church spires retained a certain degree of popularity, especially in countries such as Holland, England, and Germany where churches remained important as monuments of local and communal identity. Spire designers working in this period faced the difficult task of marshaling the classical architectural vocabulary to create striving vertical forms appropriate to this originally Gothic monument type. The Gothic Revival movement of the nineteenth century naturally fostered closer engagement with Gothic traditions of spire design, as the completion of major medieval spire projects like those of Cologne and Ulm attests. The archaeological rigor of these initiatives, however, was not matched by consistent scholarly objectivity, since Romanticism and nationalism played important roles in shaping the nineteenth-century view of the Middle Ages.
    [Show full text]