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GOTHIC EUROPE

GOTHIC EUROPE. GARDNER CHAPTER 18-4 PP. 486-494. SALISBURY CATHEDRAL. Interior of Salisbury Cathedral, Salisbury, England, 1220-1265 Embodies the essential characteristics of the English gothic style

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GOTHIC EUROPE

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  1. GOTHICEUROPE GARDNER CHAPTER 18-4 PP. 486-494

  2. SALISBURY CATHEDRAL • Interior of Salisbury Cathedral, Salisbury, England, 1220-1265 • 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, 1220-1258 • 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

  4. GLOUCESTER CATHEDRAL • Choir of Gloucester Cathedral, Gloucester, England, 1332-1357 • 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, 1503-1519 • 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. 1330-1335 • 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 1248 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, 1235-1283 • 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. 1249-1255 • 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. 1235-1240 • 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. 1300-1325, 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

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