Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
THE GOTHIC PERIOD
The purpose of medieval art was to teach. Everything the faithful needed to know about the truths
of their religion and the lives of the saints, they learned by looking at the windows in gothic
cathedrals and the statues around the church door. The simple peasant and the weary pilgrim of the
time found messages they could understand, but later scholars were able to search the imagery in
order to uncover the deeper and more symbolic meanings they carried.
Background
A sacred science: intellectual ideas and the deepest thoughts of learned theologians were all
expressed through the medium of art. This was however governed by the fixed laws of the Christian
church and its presentation was treated as a sacred science. This could not be broken by any
individual imagination of a sculptor or painter.
The age of the great cathedral
The 13th century was the age of the great cathedra. There silhouettes were visible for miles around,
dwarfing all other buildings in their shadow and drawing numerous visitors. These visitors must
surely have been impressed (just as we are today) with the sculptured architecture bringing life to
religious scenes (such as the coronation of the Virgin) or the rows of stone figures painted in full
colour (as was the practice). Progressing inside the building, their every turn would have been
marked by images in stone or wood and brilliantly coloured glass. Small wonder if they thought
themselves in heaven.
THE BEGINNING OF GOTHIC
In the mid-12th century, France was no more than a small kingdom with the royal city of Paris at its
centre. At the Benedictine Abbey of St Denis, Abbot Suger had a dream of restoring his abbey to its
former glory. The old church was completely dilapidated, but Suger set about building a new façade
with two towers and three doors before moving to the other end to build a new choir. The result
was a major event in the history of architecture. Gothic was born.
Architecture of light
Suger had a very close association with the king of France and a deep love of art, but his work had a
profound philosophical basis. For him, art and beauty were ways of honouring God and he argued
that one could only come to understand absolute beauty, which is god, through the effect of
beautiful things on our senses. He was fascinated by the religious implications of light and his new
concept was for ‘an architecture of light’.
The ‘creator of Gothic’
This was the beginning of far-reaching developments in architecture, sculpture and stained glass. At
St Denis, Abbot Suger took elements of Romanesque architecture-like cross-ribbed vault and the
pointed arch-and united them. These had been used in Burgundy and Normandy, but by bringing the
features together in a completely new way, he became, in effect, the ‘creator of Gothic’.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
The French style
Sugers concept of sacred architecture soon spread around the Île-de-France (the area around Paris)
and several great gothic cathedrals were created there in a very short time. They style later spread
to other parts of France and as Gothic architecture represented the latest in building technology, in
time other countries in Europe adopted the ‘French style’.
CHARACTERISTICS OF GOTHIC ARCHITECTURE IN COMPARISON TO ROMANESQUE
Crosswise or rib vaulting was a far more effective system of supporting stone roofs than
Romanesque.
The pointed arch was stronger than the rounded Romanesque arch.
Pressure from the vaults was now concentrated only in small areas at the end of the ribs,
eliminated the problem of outward thrust that had so troubled Romanesque builders.
Pressure was easily counteracted by supporting the walls with buttress and external arches
on the higher parts of the wall, called flying buttresses.
Buildings were of enormous heights as thinner walls replaced the thick walls of
Romanesque architecture.
Rib Vaulting:
Rib vaulting (Crosswise vaulting) was a far
more effective system of supporting stone
roofs than either barrel or groin vaulting.
Pointed arches:
Pointed arches were stronger than the
rounded Romanesque
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
Buttresses and Flying buttresses
Buttresses and external arches on the higher parts of the wall, called flying buttresses, supported
the walls and eliminated the problem of outward thrust.
Slender pillars were sufficient to support the vaulting system as outward thrust was
eliminated. (Pressure from the vaults was now concentrated only in small areas at the end of
the ribs).
Thinner walls allowed for buildings of much greater height and elegance than the
Romanesque style. Solid walls were no longer a structural part of the building, so it instead
became a skeletal structure supported by flying buttresses and filled with coloured glass.
Large windows let in light, in contrast to the dark Romanesque interiors.
Tracery-ornamental stonework was used to support the glass in the round and tall lancet
windows, giving them a light and delicate appearance. (the word may have come from the
tracing floors on which the complex patterns of gothic windows were laid out)
Space for stained glass.
A revolution in these above building techniques allowed for more window space. These were filled
with stained glass, a technique learned from the East, and so interiors of previously unknown heights
were also far brighter and more elegant. Slender pillars divided sections of walls which were at four
levels, with the tall lancet windows at the top of a gallery about the side aisle at the lower level of
the nave. This light was seen as god’s power on high as it filtered through the many stained glass
windows.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
These splendid places of worship were for the faithful, rich and poor alike and small wonder that the
cathedral in all its glory must have seemed like heaven itself when you consider the living conditions
of many during the Middle Ages who lived out the winter months of darkness in fear of war, fire and
disease. Even today as the sun streams through the magnificent stained glass of Chartres cathedral,
south-west of Paris, the atmosphere of mystery created by the transparent mosaic of colour on the
walls and a carpet of rubies and gems on the floor is just as impressive.
GOTHIC CATHEDRALS
Chartres Cathedral-Our Lady of Chartres (13th Century)
Chartres Cathedral or Notre-Dame de Chartres is about 50 miles from Paris. It is considered to be
one of the finest examples of the high Gothic style and is one of the greatest of all French gothic
cathedrals. It is visible from miles away.
It is dedicated to Our Lady and regarded as the ‘Seat of the Virgin Mary of Earth’, Chartres was a
major pilgrimage site and its most sacred relic was the Sancta Camisia, the gown worn by the Virgin
during childbirth. In 1134 and 1194 the cathedral was almost completely destroyed by fire. The relic
was found amongst the smouldering remains and this was seen as a divine miracle. A new church
was immediately begun on the remains of the old one. The resulting building was the largest church
ever attempted and is today the best preserved with more of its original stained glass intact than any
other medieval cathedral.
The Building
Chartres Cathedral took over 300 years to
build and over the years the style of
building changed. Traces of the original
Romanesque structure can be seen on the
west façade and the north tower was built
nearly 300 years after the south tower was
finished in the flamboyant late Gothic style.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
Structure
Chartres was one of the first large buildings to utilise
the full potential of flying buttresses. There are three
levels of them along the nave. At the first level they
take the form of a simple arch; the next level is
connected by small columns arranges like spokes of a
wheel; a third layer of arches stretch from the top of
the buttresses to just below the gutter of the upper
nave. Inside, the cathedral is built in the shape of a
cross with a central aisle and transepts forming the
arms of the cross. The effect upon entering the
cathedral is one of light and space. The slender pillars
soar to join the crossed rib vaulting on the roof, the
sheer height of the building adding to the beautiful
lighting from the many stained glass windows. Three
large rose windows (so called because of their shape)
adorn the cathedral, one on each transept, another
over the west door facing the altar.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
This is one of the first examples of a Gothic doorway in France. The triangular tympanums have
sculptures of the Virgin Mary and the Ascension of Christ on either side. The centre is devoted to
Christ in Majesty. Statues of kings and queens from the Old Testament stand around the portals. The
style of the figures on the sides is inferior to those in the centre, suggesting that the master carved
the centre himself and the assistant the sides.
Stories in the Glass and Sculpture
The three rose windows as well as the tall
pointed lancet windows which surrounded the
church tell the story of Mary, Jesus and the
saints, as does the sculpture around the three
doorways. The west front, known as the Royal
Portal, is the oldest of these and is so called
because of the solemn line of column status
that stand on either side Tall and linear, they
are almost part of the architecture, but their
costume and drapery is treated in a decorative
manner, All life is concentrated in the
expressions on the faces of theses strange kings
and queens whose identity is not fully known,
but they appear to represent men and women
from the Old Testament.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
NOTRE DAME, PARIS (13th Century)
RHEIMS CATHEDRAL
Notre Dame Cathedral was completed in 1250
when Paris was developing as the main centre of
political power and commerce. No expense was
spared in creating a cathedral with impressive
new architectural features that would surpass
those of all the towns nearby and the
construction was supported and encouraged by
King Louis VII himself.
The aim of Paris builders was to push the limits
of the new style beyond anything yet attempted.
The breadth of the vaults as well as the height at
Notre Dame was greater than anything seen thus
far. Another important innovation was the
combination of triangular ribs with subtle
transverse arches. The result of this technique
was an impressively wide interior, which can be
seen from the doorway through to the altar
without interruption from pillars and is as
impressive today ait was then.
Built in 1210 after a fire destroyed the original,
Rheims cathedral combined man of the finest gothic
architectural features: flying buttresses, very thin
walls and tracery windows.
The cathedral was badly damaged during WW1 but
much of its impressive variety of gothic sculpture
survived and the lines of the splendid west façade
soar upwards representing the union between
Heaven and Earth. The façade has been greatly
restored but the statues on the sides of the
doorways are original.
There were to have been seven towers but only two
on the western façade were completed and the
spires for these were never completed. It is famous
for its association with royalty and all the kings of
France from the 9th century to the 19th were
crowned here.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
GOTHIC SCULPTURE
One of the most important developments during the 12th century was a change in the ordinary
person’s attitude to God. A new humanism had come into religious discussion in the universities and
these great new opinions filtered down to the level of ordinary people. breaking through the layers
of fear and ignorance. Gradually it banished the vivid but terrifying vision of death and its aftermath
that had so long obsessed the medieval mind.
Transition from the Romanesque
Hope was the new message, The Church now preached salvation rather than damnation and
nowhere are these changes seen more clearly than in the imagery and art of the new gothic
cathedrals. In a typical Romanesque scene, like that found in Saint-Lazare Autun an impassive God
sits in judgment with the blessed to his right and the damned to his left who deserve nothing better
than eternal torment with devils in Hell.
These grotesque scenes are in complete contrast to the new gothic imagery. Mary the mother of
God occupies a very prominent position and her story appears in many ways on most of the
cathedrals. The emphasis is also more on Christ the saviour of mankind. Final judgement scenes have
not disappeared, but they tend to be far less obvious. They still show an awesome and all-powerful
God, but hell is smaller and far less gruesome and the inclusion of the Virgin Mary and St John with
Christ offers further hope.
The Saints
Numerous images of saints are found all over in gothic sculpture and stained glass. Medieval people
loved their saints and prayed in times of sickness or distress for them to intercede with god for
them. Stories of the Saints and their miracles very familiar to the average person so these were easy
to ‘read’. Traditionally, saints were identified by their symbols, but as the artists of the 13th century
became more skilled, they depended less on symbols to show the sanctity of the saints and
concentrated instead on facial expressions.
Column Statues
Column statues of Kings and Queens were a feature of early gothic imagery. These were originally
found around the doorway of the facade at St Denis and may have been associated with the French
royal family. These were rapidly followed by the west front of Chartres Cathedral and became
common on cathedrals throughout the Ile de France. As Gothic sculpture developed, these groups of
carved figures on doorways became more freestanding and adopted more naturalistic poses as they
relied less on the supporting architecture. Expressions also tended towards realism, with some even
smiling, like those found at Rheims.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
EXAMPLES OF GOTHIC SCULPTURE
Chartres Cathedral
Chartres Cathedral is a landmark in the history of sculpture. It had 200 statues featured in 41
different scenes.
The Royal Portal (west façade) (12th Century-early Gothic)
They vary in height, but all the heads are the same level and folds in the drapery tend to emphasise
their tall, linear quality. Some of the patterns are similar to that used in the sculpture at Autun and
Vezelay, but they are much more refined, as is evident in there serene and dignified facial
expressions and more accomplished body proportions. Great delight appears to have taking in
portraying the finest detail, even in the women’s clothing with the plaits, long flowing sleeves and
girdles. They are all carved with great attention and detail. Differences in quality can be seen
between the figures of the three doors, but this is because the master sculptor is credited with those
on the central doorway, while assistants may be responsible for the work on the doors to the right
and left.
The Royal Portal was built
between 1145-1555. Originally it
featured 24 statures but only 19
have survived. The theme is
salvation. The tympanum over
the centre door presents a
peaceful and calm vision of
eternity with Christ in Majesty
welcoming the visitor. The scenes
on either side are that of the
Virgin Mary and the Ascension of
Christ.
The doorway gets its name from the
so-called kings and queens on either
side. These tall column statues are
related in style to the Romanesque,
but they also show a clear
advancement in that they are no
longer a minor addition to a building
but an important part of the overall
design of the doorway, blending
with and enhancing the
architecture.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
Column statues on the Royal Portal. Kings and Queens
The North Portal (High Gothic, 13th Century)
The north portal is dedicated to the Virgin
Mary. The figure of St Anne holding her baby
daughter, Mary, stands in the central trumeau
and in the central tympanum above she is
crowned Queen of Heaven. She is the link
between the Old and New Testaments.
Ranged along both sides of the doorways are
the prophets who foretold the coming of
Christ, standing beside the apostles.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
The whole of the South Portal is
dedicated to the glory of Jesus
Christ. His church and apostles
are on either side of him in the
central doorway.
The Teacher
Jesus stands on the central
trumeau with book in hand, the
other lifted in blessing and
behind his head is his defining
symbol-the cruciform halo. His
feet rest on a lion and a dragon,
but he is very far from the
Romanesque judge of sinners.
This is a loving Christ-the teacher
of mankind or the shepherd who
laid down his life for his flock.
The gentle expression on the
finely carved face portrays that
image.
Christ’s Apostles: On either side of the door on beautiful twisted
columns, the 12 apostles stand barefoot. St. Peter, as head of the
Church, stands on Christ’s right and is recognisable by his curly
hair and beard. He is carrying a key-the symbol of his power on
earth. Nearby, St. Andrew has a cross and St John, the beardless
youth, carries a book. The other apostles have no special symbol;
instead they carry the instruments of their deaths and beneath
them are the crowned figures of the Roman Empire who
persecuted them.
The South Portal (high Gothic, 13th
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
St Peter (South Portal)
Last Judgment: in the tympanum about the central doorway a Last Judgement scene is presented,
according to the gospel of St Matthew. The familiar images of Michael weighing the souls with devils
fighting for the souls are all present. Even though the damned are led to eternal fire by these
demons, once again this image is far less grotesque than earlier representation on Romanesque
churches.
RHEIMS CATHEDRAL
Sculpture: Devotion to Mary was very popular in the 13th century. This was the era of chivalry, with
its ideals and virtues of honour and courtly love. The knightly code of behaviour included great
respect for women and the honour accorded Mary was highest of all. Many cathedrals were
dedicated to her and at Rheims she is seen in the gable above the central doorway with her son,
who is crowing her Queen of Heaven. She appears again on the central pier of the main doorway,
welcoming the faithful. Among the surrounding statues are some representing the Visitation and the
Annunciation and show the variety of styles found at the cathedral.
The Annunciation and Visitation: The figures of Mary and Elizabeth are early 13th century and are
clearly inspired by Roman influence. The bodies come alive, no longer resting squarely on two feet,
the folds move and the faces have life-like expressions. The Virgin of the Annunciation is later, with
gentler movement and quieter folds in her gown. The figure of the Angel Gabriel is of the last school
and has a delicate smiling face, a graceful movement and an elegantly draped body.
Art History and Appreciation Rosses Community School Miss O’ Hart
Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012
The smiling angle has become the
emblem of the city. Humanism in
religious thinking found its way into
art, making the imagery used in gothic
sculptor far gentler than the terrifying
visions of the Romanesque era.
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