THE KEY TO

GOTHIC ART
Jose Bracons

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THE KEY TO ART

THE KEY TO

GOTHIC ART
Jose Bracons
Professor of Art History

Lerner Publications

Company Minneapolis

Words

that

appear

in

bold type are

listed in the glossary.

Copyright 1988 Editorial Planeta, Spain

Copyright

1990 English language, David Bateman Ltd.

This edition published 1990

by Lerner Publications

241

Company

Avenue North. Minneapolis. Minnesota 55401, USA

First

In association

with David Bateman Ltd.

32-34 View Road. Glenfield, Auckland,

New

Zealand

All rights to this edition reserved. International

copyright secured.

No

part of this

hook may be reproduced

or transmitted in any form or by any means, electronic or

mechanical, including photocopying and recording, or by any

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ot briei

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an acknowledged review.

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

Bracons

Gapes,

|osep.

[Claves del arte gotico. English]

The key togothic art

cm. (The Key
p.
Translation

Jose Bracons.
to art)

Las claves del arte gotico.

ol:

Includes index.

Summary: Discusses

the history

and characteristics

ol

Gothic

art,

as represented in architecture, illuminated manuscripts, painting,

stained glass, and

si

ulpture.

ISBN 0-8225-2051-6 (lib. bdg.)

ISBN 0-8225-2054-0 (pbk.)'
Art.

Gothic Themes, motives.

Gothic]

Rtle.

2 Art appreciation.

[1.

Art,

Series

II

N6310.B7313 1990
709.02'2-dc2C

89-12223
CIP

AC
A David Bateman Book

Printed

Bound
1

in

in
4

Spain

USA
5

b)
6

Muscle Bound Bindery

7

10

99

98

97

96

95

INTRODUCTION

The Royal Doors.

The Appreciation of Gothic Art

Chartres Cathedral.

The

1145-55. Chartres,
France.

the

first

major

example of a Gothic

art

doorway. In contrast to

style,

the

the Italian Renaissance-the cultural

movement

that followed the Gothic period. Giorgio Vasari

doors built in the Romanesque

European

The art of this period was scorned by the leaders of

Chartres Cathedral in
is

art refers to

12th century to the early 16th century.

This entrance at the

France

term Gothic

and architecture from the middle of the

tympanums

described the art forms of earlier periods as "a

reflection of the art invented

by the Goths who,

having destroyed ancient buildings and slaugh-

-the triangular areas

under the arches-are

tered their architects in battle, covered vaults

complemented by sculp-

with pointed arches and covered

ture.

The center tympanum

represents the majesty of

God. The scenes

of accursed buildings of a type that

never again be

the Ascension of

Christ. Kings, queens,

and

patriarchs from the Old

pillars.

different styles

will

Vasari and other Renaissance thinkers saw a

clear distinction

tecture

Roman

The

show

that

must have worked

on the doors.

,..

between Gothic

and Roman

believed that

several artists or groups of

artists

we hope

built."

Testament appear on the

supporting

with a rash

to either

side represent the Virgin

Mary and

Italy

IIIHHi;

...

Mi

art
art

and

art

and

architecture.

embodied

archi-

They

the classical

Renaissance ideal that was closer to perfection.

Vasari ends his
will

now

comments by praying

free all countries

from

all

that

"God

forms of

thinking and building that clash with the beauty

of ours."

This idea that the classical style was best lasted

for several centuries

jection of
the

all

that

and resulted

was medieval.

Romantic movement

in art

in scornful re-

It

was not

began

until

in the 18th

century that the Gothic tradition was revived.

GOTHIC EUROPE

From then on, Romantic

The Gothic

tion from medieval art

in France.

style

It

began

spread across

artists got their inspira-

and architecture. The term

Gothic gradually overcame

its

negative meanings.

Europe and was accepted

and adapted
ways

in various

in different countries.

Later Gothic art was redefined in

Italy, in

way

that

influenced art in the rest of

Europe. The final period of

Gothic

art,

Gothic art existed over a period of four centuries.

try to

It

has no

common denominator. We must

understand the extraordinary geographic

diversity of Gothic art

religious,

and the many

and economic pressures

political,

that affected

the Gothic style.

which coincided

with the blossoming of the

Geographical and Chronological

Renaissance movement in
Italy,

in

took place mainly

Burgundy, Flanders,

and Germany.

Expansion of Gothic Art

The

Gothic period lasted from the middle

of the 12th century until the

first

decades

of the 16 th century. Within this time span,

Gothic art was found from Spain to Scandinavia

and from Ireland

to the eastern

Holy Roman Empire. The

and

borders of the

military,

commercial,

religious activities of western

in the eastern

Europeans

Mediterranean area explains

why

Gothic art was also found on the islands of

Rhodes and Cyprus and

Middle

The Gothic

many

in other spots in the

East.
style

continued

to

be popular in

countries, even after the 16th century. In

England, for example, the Gothic tradition served

as inspiration for artists of the

of the 19th century.

Neo-Gothic revival

Western facade.

individual parts ol the

Cathedral of Notre Dame,

building.

c.

1210. Paris, France.

This facade, or building

front, is a

the

first

art. It is

good example of

vertical

The

three

main

elements are built

on three massive doors. The

sides are

crowned by high

The cathedral

phase of Gothic

towers.

noteworthy

has a three-level division:

for

the balance between the

also

the doors, the royal gallery.

and upper gallery and

towers.

REGINALD ELY and

others. King's College

Chapel,

c.

1466.

Cambridge, England.
Perpendicular Gothic
architecture appeared in

England

in the

middle of

the 14th century.

name

As the

implies, perpendic-

ular lines

make up

the

decorative elements of this

style.

Fan vaulting-a de-

Englandwindows are

sign unique to

and

tall,

slim

also important elements.

King's College Chapel

is

an

excellent example of the

English Perpendicular
style.

The structure of the

building
simple.

It

itself is

very

consists of a lofty

central hall flooded with

light.

The chapel was not

completed
century.

until the 16th

There was a basic difference in the development of Gothic architecture in northern and

southern Europe. At times, the two styles contradicted each other, yet they also

complemented

one another.

The development of Gothic

art is usually di-

vided into three main phases: an

during which Gothic form was

middle period during which the

style

initial

first

dominated by the
middle

defined; a

classic

developed and expanded; and a

final

Gothic
period

tastes of the aristocracy

and

class.

Within these general phases, there are

number
initial

period

of subdivisions. In France, there

Gothic architectural

Classic,

England,

style,

was an

followed by

Rayonnant, and Flamboyant

we

a large

styles. In

find Early English, Decorated,

Perpendicular architecture

and

styles.

In the field of painting, a linear style evolved,

as well as a style

known

as

1200 or Byzantine.

There was a period of Italian domination

in

painting, followed by an international period,

followed by a period

when

painting was mainly

influenced by Flemish and Burgundian

^nPssiSoi

>C \, /\ f|r

iJKw!

H\~ijSfiM Mi
Hg

artists.

There are no such clearly defined subdivisions

during the Gothic period.

y&r

^*fi|

y':*HS

*^fiS*3B

Slips
pZSSSSE

ma_

"w*"u*Hf.

in sculpture

"X

'<*=

BBBSf

tsC^rr
Uivnaw.

.."

Historic Milestones of Gothic Art

To

understand Gothic

mind

art,

we must keep

the historical, cultural,

factors that

shaped

it.

and

in

ulation explosion and improved

methods of

and trade improved the economy of

the area. Pilgrimages

and crusades expanded

European and Christian influence during

this

time. In Spain, the Spanish Christians overthrew

the Moors,

and the Germanic world started

advance toward the

The 12th century

was the century of European expansion. A popagriculture

" f""*" 1 "*"~r '"^

.ESSE
I'MKtaUtBMl

social

'

ibprU-VlVtUr p>ta.

EsSs
'*+?

its

The Canticles of
Saint Mary. Frontispiece.

pre-1284. Library of the

Escorial Monastery,
El Escorial, Spain.

The Canticles of Saint Mary

were written by Alfonso X
'The Wise") of

(called

Castile in Spain. Alfonso

East.

ordered the miniaturists of

The 12th century

New

reforms.

also

towns and

became centers

saw great monastic

cities

developed and

of culture and scholarship.

Cathedral schools in towns replaced monasteries

his court to illustrate the

canticles or songs.

The

texts praise the Virgin

and

tell

Mary

of miraculous

deeds that she brought

as centers of learning.

During the 12th century the feudal system was

about. The texts were

written to be set to music.

replaced by a growing acceptance of the power

of the king. France, where this process was

strongest,

was the cradle of Gothic art. By the

century, the institution of

established. This

monarchy was

of Spain.

II

firmly

was the century of Louis IX

Edward
of England,
of Germany, and Alfonso the Wise

Saint Louis-of France,

Frederick

13 th

With the

restoration of the

monarchs, distinct nations began

monarchs themselves.

feelings of national pride.

notations on the
script.

The

manu-

illustrations

give a fresh vision ol dail)

life

the

and
1

spirituality

during

3th century. In the

power of the

to emerge. Great

cultural activity developed, started mainly by

the

This explains the musical

All this strengthened

page reproduced here, the

wise king

He

sits in his

dictates

palace

words and

music as singers

au^\

musi-

cians prepare to perform.

GIOTTO.

The 13th century was

Saint Francis Preaching

to the Birds, pre-1307.

The Basilica, Assisi, Italy.

The Franciscan order

prosperity.

The

textile

also a time of

economic

industry grew in Europe.

New urban centers, and

the roads linking them,

were the scenes of extraordinary activity and

deeply influenced the art

commerce. The growth of the

of the Gothic period,

development in new social organizations. Crafts-

particularly in

Italy.

Basilica at Assisi

The

was the

starting point for

many

cities triggered

people and merchants organized guilds-groups

of people with the

A new

same professions or

skills.

middle-class population took control of

innovations in painting and

architecture.

The

city

decoration, thought to be
the

government.

interioi

work of Giotto,

depicts

The
shaped

spiritual

life

in large part

of the 13th century

was

by the development of the

various events, including

towns and the appearance of new religious orders

Saint Francis preaching to

such as the Franciscans and the Dominicans. The

the birds. This scene clearly

new religious orders influenced both the common

shows the Franciscan idea

that every creature

sign of God.
little detail,

is

With very

Giotto

suggests a natural environ-

ment. While

many people

are certain that these

paintings were done by

Giotto and collaborators,

some
to

art historians tend

doubt

this.

'A

Ed Llil-I

people and the world of culture and

Universities

AMBROGIO

art.

became important centers of learn-

ing during the 13th century.

Two

great lines of

LORENZETTI.
Good Go\ernment of the
City. 1338-39.

thought spread through the universities -that of

Saint Francis

and

that of Saint

Aquinas's Treatises
ity

sum up

Thomas Aquinas.

the intellectual activ-

Palazzo Pubblico, Siena,

Italy.

In the decoration of one of

the

of the age.

The 13th century

is

considered to have been

the greatest period of medieval splendor. At the

chambers

hall, the city

Siena,

Italy,

in the city

council of

chose

to

show

the ways of good govern-

end of that century, economic expansion reached

its

peak.

European society entered a time of crisis during

the 14th century.

ment
began

of

ment and tyranny

side. Clearly,

new

land,

make

which was becoming

good government during

scarcer,

production declined

caused grave fear

among rural

people.

statement about
a

time of political uncertainty.

The

effects of good

government

are

shown

in

the happiness of the

Trade also suffered, and the economy slumped.

The effects of hunger and

in the cities

this

decision lay the wish to

The settlement and develop-

to lag. Agricultural

substantially. This

side by

behind

inflation

and among the poorer

were

felt

most

classes. Great

citizens, the prosperity of

the craftspeople,

and the

elegance of the nobility.

Papal Palace. 14th

epidemics spread, the worst being the Black

century. Avignon, France.

Death, or plague, of 1348 and 1349.

Because of power clashes

The

greatest political crisis of the 14th cen-

between the church and

the state, the French pope,

Clement

moved

V,

the seat

of the papacy to Avignon in

France.
there

The popes resided

between 1309

and 1367 and

built for

tury was the

Hundred Years War between France

this same century, conflicts

and England. During

within the

Roman

Catholic church and clashes

between church and

tress.

state

The temporary

added

to Europe's dis-

transfer of the

papacy

Avignon, France, and the Great Schism,

in

to

which

themselves an impressive
fortified palace overlook-

ing the city and close to

the cathedral.

A number

of buildings were erected.

Pierre Poisson

and Jean

de Louvres, two of the

architects

with

who worked

Italian artists

the project,
a center of

Gothic

art.

on

made Avignon

southern

churchmen claimed
pope, caused political and
several

In response,

many new

be the rightful

to

spiritual distress.

religious

movements

was

a concentra-

sprang up.

Another reaction
tion of political
rulers.

to the crisis

power

The pope,

into the

hands of

few

too, acquired greater authority

over the everyday lives of the people.

At the same time, there was a historical pheno-

menon with an enormous

medieval

ment

life

and

of capitalism, an

system fostered new

on

was the develop-

economic system based

on private ownership and

the world based

potential to change

culture. This

free enterprise.

This

ideas, such as a vision of

critical

thought and indi-

vidual accomplishments. People recovered their

strength and optimism by going against the

10

ENGUERRAND
QUARTON. Pietaof
Villeneuve-les- Axignon.

1455. The Louvre,

Paris, France.

Gothic painting sought

a closer representation of
reality,

although

it

can

scarcely be described as
realistic.

At

first,

the donors

who had commissioned

the

works were shown

the paintings with

and the
established values of the church.
a non-religious culture
scientific discovery.

lated into art

They produced

and made advances

The new values were

forms during the

first

saints.

Then

the principal figures in

trans-

the Renaissance.

paintings.

The donor

this painting

is

who was

bably his patron

Art and Society During the Gothic Period

artist

as important as the

in

magnifi-

cently depicted along with

Saint John,

was not considered

the

donors gradually became

in

waves of

During the early Gothic period, the

in

Mary

intense
is

pro-

saint.

The

drama of the scene

concentrated upon the

body of Christ. The golden

background, showing just

craftsperson. Medieval society valued

technical skills
artist

or

more than

was not expected

new methods

artist

to

develop

of painting. In

was only expected

figures

creative ability.

to

The

artistic theories

most

the silhouette of a

city,

gives the picture a timeless

dimension.

cases, the

reproduce standard

and images and carrv out the instructions

of people

who were considered to be on a "higher"

cultural level.

Gradually, the role of the artist grew. Artists

began

to sign their

works

in

order to be credited

with them. Mateo carved his

of the Portico de

la

name on

the lintel

Gloria in 1188. Giovanni

Pisano did the same on the pulpit of the baptistery

at

the cathedral at Siena. Jan van Eyck

of his presence at

left

proof

the marriage of Giovanni

Arnolfini by signing his

wedding

portrait, "Jan

van Eyck was here." In general, architectural work

11

and sculptures were more frequently signed than

were paintings and small objects.
Like other craft groups during the Middle Ages,
artists

began

themselves into guilds

to organize

and brotherhoods. Only

successful at

more than one

few artists were

specialty.

Among

those engaged in building, a clear distinction was

made between

the master of the project-the

engineer-and the simple

architect or the
bricklayer,

mason

(stoneworker), or craftsperson.

Builders' associations-called

and

secretive societies.

were involved with

The guilds and lodges

the great building projects

members made

of the age. Guild

technical skills

all

lodges-were closed

sure that their

would be passed on

to the next

generation by training young apprentices.

The studios and workshops of

sculptors, goldsmiths,
a similar function.

It

painters,

and silversmiths

was

fulfilled

rare for a craftsperson

of any importance not to have at his side an

apprentice, a collaborator, a servant, or a relative
to
It

whom he imparted the skills of his profession.

is

usually assumed that the master was

responsible for the design of a

final phases.

work. Based on

VILLARD DE

HONNECOURT.

Interior

and exterior of a chapel

in Reims Cathedral.
Early 13 th century.

National Library, Paris,

France.
Villard de

Honnecourt was

an architect from Picardy

in France.

Though we

cannot identify

for certain

any buildings Villard

designed, his drawings and
his notes are necessary for

12

The

work and

for its

assistants did the preparatory

this

assumption, art historians

distinguish the works of the medieval master

from those of the apprentices by the quality of

the finished work.

As

cities

expanded during the Gothic period,

and craftspeople gathered in urban centers

where there was a growing market for their skills.
However, most artists of the 13th, 14th, and 15th
artists

centuries did not remain in one location. Painters

and precious metal workers did carry on their

professions from studios and workshops. But
architects, sculptors, and fresco painters had to
be constantly on the move. During

this period.

a^m

our understanding of
Gothic architecture. He
visited various countries

and drew many buildings,

but concentrated on the
cathedral at Reims, noting

many

of its details. The

drawings reproduced here

show one

of the cathedral's

chapels. That chapel looks

basically the

same

today.

GIOVANNI PISANO.
Virgin and Child, c. 1305.
Arena Chapel, Padua,
Italy.

This Virgin and Child

is

developed upon similar

images found

in

many

French cathedrals and with

which the
been

artist

familiar.

would have

French paint-

ings of the Virgin, however,

tend to emphasize the grace

of the mother-son relationship. Here, the artist

chose

to portray the tension of

the relationship. Note the

artist's

signature along the

base of the statue.

jr>*WTl

TO
13

ANONYMOUS.
1400. National Gallery,

London, England.
The theme
is

of this

II

to specialize

Middle Ages, more written documents were

to the Virgin

artistic creations.

It

thus becomes easier to link

works with the

and Saint Edmund. King

compile biographies of certain

Richard

how

depicted as

beardless youngster,

work was begun during

it

years of his

was not finished

until

after Richard's death.

king's features have

painted to be

in

artists lived

who

amount

created

them and

artists.

to

Learning

and worked gives us

a better

artist's creations.

The

of written material about the lives of

the

Perhaps

life.

artists

understanding of each

although we know that the

last

develop

to

created about the lives of artists and about their

Mary by John the Baptist.

Edward the Confessor,

is

and

individual styles.

As society became more complex during the

work

the presentation of King

Richard

began

artists

The Wilton Diptych.

c.

The

been

harmony

artists that survives

greatly

Most

from the Middle Ages varies

from country
artists

to country.

worked on

commissions. That
create a

work

between

artists

is,

the basis of individual

the artist

would agree

to

for a client for a fee. Contracts

with those of the heavenly

court preparing to receive

him. The variation

in

shade

and

clients are a source of very

important information for

art historians.

They

specify not only the artistic taste of the client, but

14

also prices, delivery dates,

where the work was

to

be carried out, quality of materials, and the

procedures

to

celestial

blue clothing

truly

impressive.

be followed.

is

The elegance

and refinement of the

Commissions from royalty and the upper class

workmanship.

attracted the highest quality of

The

and tone of the

desire for self-promotion

and

work

is

typical of the

international Gothic style.

a spirit of

luxury and display were always present

in the

we must also take into

class. Though
the origins of Gothic art are tightly bound up
with the ruling class, there came a time when the
great courts of Europe. But

account the influence of the middle

The Door of Judgment.

Early 13th century. Notre

Dame Cathedral, Paris,

France.

middle class assumed the major role

in influenc-

ing the Gothic style. The middle class insisted

on

new

sense of realism. This influence can be

seen in the architecture of the time in craft

town

halls,

halls,

marketplaces, government buildings,

doors. Here, Christ appears

with the wounds of the

Crucifixion, according to

works of

a religious nature

are

grouped around him.

(churches, chapels, altarpieces, tombs, orna-

as are Saint John

ments, and books) were commissioned by either

Virgin Mary.

we can

distinguish differences

different types of patrons,

among

we can

also

are

among

were

artists themselves, there

quite noticeable social differences. Giotto

was

He owned and rented

out land and loaned out large sums of money. Jan
van Eyck was a close friend of the Duke of
Burgundy and undertook several political
very well paid for his work.

missions on the duke's behalf. These two are

exceptional cases, but they demonstrate the high
social levels that could be attained by an artist

during the Gothic period.

There was

little

distinction

and small works

made between

oi art

during the Middle

Ages. In fact, less importance

was often attached

large

to large,

monumental works than

paintings, jewelry,

and the
the lower

shown

to

to

small

and precious metalwork.

be separated

from the damned. The

Resurrection

see that

On

half of the door, the blessed

royal or middle-class patrons.

works by

Gothic-

Matthews Gospel. Angels

of the great

just as

is

theme often used on

the description in Saint

and palaces.

Many

The Last Judgment

is

depicted on

the lintel the horizontal

piece over the center ol

the door. Angels, saints,

and characters from the

Old Testament
on the arch.

are

shown

"

//

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ImhI
16

ARCHITECTURE

SIMON DE COLOGNE.
Constable's Chapel.

France, a province in northern France,

1482-94. Burgos

and expanded outward. The main

Cathedral, Burgos, Spain.

This chapel was used by

architecture began in the Ile-de-

Gothic

The abbey was the tomb of the saint,

Pedro Fernandez de Velasco

Saint-Denis.

and

burial site of the French kings,

his wife as a funeral

chapel.

The chapel was

place for the royal

designed by Simon de
Cologne,

who made it strik-

ingly different

from the rest

of the cathedral at Burgos

in Spain.
vault, in

The star-shaped

which some panels

have been replaced with

stained glass, seems to float

above the chapel.

reli-

gious center in this area was the Abbey of

In 1122, Suger

and the storage

emblems and jewels.

became

the abbot of Saint-Denis.

He devoted himself to the restoration of power to

the French monarchy. He also began the
restoration of the abbey buildings at Saint-Denis.

Work

started at the west

main facade, or

end of the abbey. The

front, of the

new abbey was

consecrated in 1140. Suger later undertook the

renovation of the eastern end of the abbey,

including the

ambulatory- a

sheltered area for

walking and the side chapels.

The main architectural elements

in these

reconstructions were pointed arches and vaults

(arched roofs or ceilings). These elements were

taken from Romanesque architecture of earlier
centuries. However, they

were combined

in a fresh

way, according to theories offered by Suger in his

writings.
It

at

was

this

new style

of architecture developed

Saint-Denis that was to

point for

all

become

the starting

Gothic architecture.

The design of the Abbey of Saint-Denis was

soon adapted and incorporated into all the major
building projects undertaken by the monarchy
of France. These projects were undertaken with a
17

Abbey of Saint-Denis.
1140-1281. Saint-Denis,

constant striving for perfection. Within a brief

time span, emerging Gothic architecture reached

France.
its

A landmark

in

architecture, the

Abbey of

Saint-Denis was the inspiration of

all

builders.

peak.

It

became an

artistic style

representing

French

Gothic cathedral

One hundred

years

after the consecration of the

west front and sections of

the

power of the French throne.

It is

impossible to give one definition for Gothic

architecture in

has so

many

all

of Europe, because the style

varied elements. But the cathedral

combines most of the elements

become

that

were

to

the hallmarks of Gothic architecture.

the nave, Pierre de Montreuil

began work on the choir

and
18

transepts.

The transept

Cathedrals were episcopal seats (headquarters

for

bishops) and they became the cultural

symbols of 12th-century European

A main

triforium was

cities.

element of the Gothic cathedral

rib vault-a vault

This vault

is

the

is

with crossed, pointed arches.

based on

a very old design.

It

was

Durham

with

ance of the cathedral today

owes much

to the

Viollet-le-Duc,

used in Romanesque buildings such as

filled

stained glass. The appear-

it

work

of

who restored

between 1858 and 1879.

Cathedral in England and the Church of Saint

Stephen in Caen in France.

The

rib vault

is

dynamic structure.

Its

skeleton

of ribs carries the weight of the walls from the

keystone (the wedge-shaped piece

top of

at the

the arches that locks the other pieces in place)

outward and downward

vault

is

chosen

to

easier to build than

of vaults. Rib vaults

made

The

areas.

some other

it

rib

types

possible to cover

huge, open spaces in churches such as aisles,

presbyteries, and side chapels.

The

rib vault

1.

Keystone

3.

Transverse arches

4.

Shaped arches

5.

Architectural ribs

2.

Panel

^^\ y
/3 /\
2

s\

Design of a star-shaped
Plan of the apse and

ambulatory

at the

Abbey

are said to represent the

vault

prophets and the apostles.

1.

of Saint-Denis. 1144.

The keystone

is

the image
2.

Saint-Denis, France.
In his writings,

Suger com-

of Christ.
filters

The light

that

Diagonal ribs

Secondary

verse ribs 4.

ribs

3.

Curved

Transribs

through the stained

was meant

pares the building with the

glass

Temple of Solomon and

humanity the way

explains the symbolism of

true light ol God.

to

show
to the

each element. The columns

19

Ground plan of Notre

Dame Cathedral, c.

1163.

Paris, France.

The Notre Dame Cathedral

was

far larger

built before

than anything

it. It

consisted

of a nave with double side

Flying buttresses

aisles.

were

fully integrated into

the architectural design.

Wall plan of a Gothic

cathedral
I.

Tracery

windows
4.

8.

6.

was composed

Lancet

divided the vault into four segments. This

3.

9.

is

Clerestory
5.

Gallery

Capital

earliest type of rib vault

of two interlinked, pointed arches. These arches

2.

Triforium

arch

The

Supporting
7.

Abacus

Buttress

10.

Cylindrical pillar

II.

Base

known

as a quadripartite (or four-parted) vault.

Later on, the construction of vaults

became more

complicated. Three-segment vaults, star-shaped

vaults,

and fan vaults appeared.

Arches also changed and became more complex.

pointed arch could vary in both height

and span. The narrowest arches were lancet

arches-pointed arches used on top of high,
narrow windows. Ogee arches were pointed
arches that had a reversed curve near the top.

Another characteristic feature of Gothic

is the flying buttress. The flying

architecture

buttress consists of arched bars supported by

massive stone columns set outside the walls of a

building. Flying buttresses were

first

developed during the building of Notre

Cathedral in

20

Paris.

fully

Dame

As

architectural design

improved during the

Middle Ages, walls ceased

to

be merely sup-

Chartres Cathedral.
1194-1260. Chartres,
France.

ports for a building. Architects began to put

more imagination

into building designs

and

arrangements.

interior plan of the Chartres

cathedral in France

Cathedrals were designed with four

the

The perfection of the

levels.

At

bottom was the nave. Above it was the gallery.

Above the gallery was the triforium, and topping

is

the

result of lessons learned

from other buildings. There

is

no

gallery,

and the

clere-

story allows a lot of light

them

all

was the clerestory.

Pillars,

vaulting,

into the nave. Three tiers

the inner shafts that supported the

became an important part of

the

cathedral design. Early pillars were cylindrical.

of flying buttresses are

a

very important Feature

of Chartres.

The large pillars were often surrounded by several

smaller

pillars.

cathedral

is

shaped

like a cross.

central
1\

Opposite, Beauvais

Cathedral,

c.

nave running the length of the cathedral forms

1225-72.

the

Beauvais, France.

main shaft of the cross. The nave is flanked by

The naves of the Gothic cathedrals are

side aisles.

Cathedrals built after

Chartres are examples of

remarkable not only

architectural brilliance.

their height.

Architects searched for

is

ways

and

to

make naves

loftier

to replace walls

with

for their length,

but also for

The higher the nave, the more

light

allowed into the interior of the cathedral.

Two other important parts of a Gothic cathedral

apse and the transepts. The apse

are the

is

stained glass. Building

methods were pushed

the limit.

The

to

architects of

made

Beauvais in France

the nave walls almost 165

feet

(50 meters) high. But

these

tall

structures

collapsed in 1284.
the cathedral

and

rebuilt,

was never

Some

of

was repaired

but the work

finished.

The

collapse of the cathedral

of Beauvais put an end

to

Gothic dreams of the

gigantic.

Ground plan of Bourges

Cross-section of Bourges

Cathedral,

Cathedral,

c.

1195.

1195.

Bourges, France.

Gothic style and technical

The

expertise in building

sought

reached

its

peak around

architects at Bourges
to give

an impres-

sion of loftiness, as well as

1190, about the time that

a sense of width

and space

the cathedrals of Bourges

in the cathedral.

The

and Chartres were begun

intensity of light at the

in France.

The cathedral

at

Bourges Cathedral cannot

Bourges followed a simple

compare with

plan, similar to that of

cathedral at Chartres. At

Notre Dame. The length

of the cathedral's

unbroken by
double

aisle

nave

is

transepts.

surrounds the

whole building.

22

c.

Bourges, France.

that at the

Chartres, a single aisle

channels the whole

effect

of the light into the nave.

semicircular area at the end of the nave. The apse

is

always

at the east

end of the nave and the

entrance to the cathedral

always

is

at the west.

Transepts are sections of the building that project

from both sides of the nave. The transepts form

the horizontal crossbars of the cross design.

The apse design used in Gothic cathedrals was

copied from early Romanesque churches. The
apse in a cathedral
tory

and

is

surrounded by an ambula-

several side chapels that

open out from

the ambulatory.

Cathedral designs also included two towers on

the western facade. These towers were often

crowned with spires. The

many

architectural plans of

cathedrals usually also called for other

towers-up

most

to a total of seven. In

cases,

these towers were never completed or were

finished centuries after the cathedral itself

was

completed.

cathedral, dominating

around

it,

takes

on

all

other buildings

monumental dimension.

The towering walls and the

light

streaming in

EVOLUTION OF
TRACERY

Gothic windows were high,

leaf

narrow, sharply-pointed

designs became more

Tracery

windows known

complex and the stonework

is

the ornamental

as lancet

stone ribbing and pattern

windows. These windows

work

were crowned by

in the

upper part of

Gothic window. The

first

simple

shape, either a three-parted

or a rose. Later, the

became more

delicate.

Ground plan of the Laon

Cathedral. 1150-1200.

Laon, France.

The cathedrals of Paris and

through the windows seem

architectural splendor

everyday

to

downward

extend the
touch the

to

lives of the people.

The decoration and the arrangement of space

inside a cathedral are very distinctive

the thinking of the Gothic age.

Abbot Suger and

and

reflect

The writings of

his contemporaries refer to the

Laon

in

at the

same time and share

France were built

many details. Alterations at

Laon have obscured some
of the similarities between
the two buildings, however.

The

original semicircular

apse was replaced by a

flat

east

end with huge

mysticism of light. Light was seen as the mediator

windows. Six of the seven

between God and humanity. Therefore, one of

planned towers were

the

main

was to
The

goals of Gothic architecture

built,

though not

all

Ground plan of the

on the

the western

Chartres Cathedral.

facade was rebuilt. In 1334.

have spires.

replace walls with stained glass windows.

site,

1194-1220. Chartres,

another

France.

what remained of the old

The cathedral

at Chartres,

fire

cathedral.

destroyed

Ambitious plans

considered one of the most

were drawn up

perfect examples of a

reconstruction. The archi-

Gothic cathedral, served

tect,

wanting

to preserve

for other

what had been

cathedrals.

The story of its

drew up

building

typical of

as a

model

is

cathedrals.
1

When

many

a fire in

194 partially destroyed the

old

Romanesque

for its

built before,

based on

his plans

the old building,

he newer

west front, however, caused

him

to alter his plans

cathedral

25

Nave. Wells Cathedral.

1214-1465. Wells,

builders wanted the light filtering through the

England.

stained glass to be evenly distributed. Light

The

flooding in from above gave a sense of God's

nave, the transepts.

and the western hays of

the church are designed

power from on
in

high.

discussion of Gothic architecture cannot be

the Early English style-

the

first

Gothic.

phase of English

When

was added
the

columns

tower had

a great

tower

to the cathedral,

to

to

support the

be reinforced.

This was accomplished bv

26

limited to cathedrals.

Nor can

it

be limited to the

story of the spread of the Gothic style from

northern France across Europe.

Religious orders-particularly the Cistercians,
Franciscans, and

Dominicans-adapted the

tecture of the age to suit their

own

archi-

particular

using inverted, pointed

arches. These arches also

give an extraordinary
artistic

look to

this

cathedral.

Ground plan of Reims

Cathedral. 1212-41.

Reims, France.
1.

Apse

3.

Ambulatory

4.

5.

Crossing

North

2.

transept
8.

Nave

Chapels

7.

6.

Presbytery

South transept
Side aisles

9.

10.

Buttress

12.

Facade

11.

West end

Ground plan of Toledo

needs.

Though

there were not specific "Cistercian"

Cathedral. 1226. Toledo,

or "Franciscan" styles of Gothic architecture, the

Spain.

influence of these religious communities was

This five-aisle plan of the

powerful indeed.

cathedral

at

lar to the

plans of Bourges

The Cistercian order was founded

at

Citeaux

Toledo

is

simi-

and Notre Dame. There

in

Burgundy

Clairvaux,

Abbot of

in 1098. Saint Bernard,

became

moving

force in the order.

He and his successors drew up rules that imposed

great severity

were

to

and simplicity on the abbey. There

be no sculptures

in the abbey's

porticos

(covered walkways), no stained glass in the

is

double ambulator} with

two

different types ol

chapels.

The transepts do

not stick out from the nave.

Construction on the cathedral

was begun by Arch-

bishop Rodrigo Ximenez

windows, and no paintings within the monastery

church.

de Rada. He had visited

Paris

The Cistercian order was not slow

in taking

part in the planning of royal buildings.

The order

took an active role in great building projects from

Spain to eastern Europe. But the monumental

and was familiar with

the cathedrals ol that region.

The

first

in

complete contrast

to the ideals of Saint Bernard.

Frenc

h,

though he was followed

a local

buildings commissioned by the Cistercians were

architect, Martin,

may haw been

Spanish architec

b\
t.

Pedro Perez.

11

Albi Cathedral,

c.

1282.

Albi, France.
Albi in France

is

a fortress

church with impressive

brick vaulting. The exterior
is

simple and

solid.

internal space

is

The

huge.

Buttresses (side supports)

in the walls allow for

many

side chapels. Flamboyantstyle additions built in the

1470s soften the cathedral's

fortress-like aspects.

The Franciscans and the Dominicans flourished

during the 13th century. Their founders, Saint
Francis of Assisi and Saint Dominic, sought to
revitalize the

monastic

spirit

by preaching

to

people and spreading the Christian message.

These orders proclaimed a new spirituality. They

were more sensitive and more aware of the

lives

of ordinary people than were earlier religious

orders.

The teaching of the Franciscans and the

Dominicans had an important

and

effect

upon

art

literature.

Poverty was an essential part of the

life

of the

Franciscans and the Dominicans. These groups

established their monasteries in

abandoning the agricultural

the possession of land

life,

cities.

By

they renounced

and the rents derived from

land ownership.

For the design of their church buildings, both

orders set

28

up rules

in keeping with their ideals of

Western facade.
Strasbourg Cathedral,
c.

1277. Strasbourg,

France.
Strasbourg Cathedral in

France was built in several

stages

and

several styles,

ending with the Radiant

Gothic style on the west
front.

The tower of this

cathedral rises into an

openwork spire, 466 feet

m) high. The tower

(142

dates from around 1439

and

is

very representative

of Germanic Gothic style.

poverty.

As with the

Cistercians, however, these

general rules soon were broken. Their original

goal

was

to

keep decorations simple. But by the

middle of the 13th century, some truly monumental buildings had been erected

numbers

to

hold large

of people. Within these buildings, the

monks experimented with many

interesting

spacial effects-particularly large, undivided

spaces.

The secular (non-religious) architecture of the

29

time

is

also very important, although civil

buildings are less representative of the Gothic

style

than are religious buildings. In the

buildings, practical considerations were

important than spiritual values. But

civil

more

civil archi-

tecture clearly reflects the nature of the society of

the Middle Ages.

The most

characteristic civil building

palace, or aristocratic residence.

is

the

The chief

examples are the royal palaces, homes of the

Nave. Gerona Cathedral.

14th century. Gerona,
Spain.
This type of church,

which the nave

vaulted

duced

hall,

was

in

one

is

intro-

to Catalonia in

Spain

by the religious orders.

Work
dral

the

started on the cathe-

around 1312.
first

built,

When

section had been

doubts were raised

about the width and

solidity of the nave. After

architects

met

in

1386 and

1416. they decided a single

nave would result

more solemn,

in a

better

ruling monarchs.

Not much remains

of

most

of

these palaces because changing tastes for comfort

proportioned building and

one

in

which there would

be more

light.

and splendor caused successive

rulers to replace

the Gothic-style buildings.

Another type of royal residence was the

castle.

Some

of the

most spectacular

fortified

castles are

the Castel del Monte, built for Frederick

II;

the

castle of Bellver, in Majorca; and the Castle of

Karlstein, near Prague, built by the

Emperor

Charles IV

The typical fortification plan consisted

30

basically of a rectangular enclosure.

The enclosure

had towers and turrets on both sides and

donjon, or massive inner tower,

The

castle

at the center.

changed considerably during the

Gothic period.

It

was originally built for defensive

purposes, but these became less important when

feudal leaders lost

power

to

monarchs.

castles lost their military significance,

them became luxurious

In

When

many

of

residences.

some countries, middle-class, urban

dwellers

BERENGUERDE

MONTAGUT and
RAMON DESPUIG.
Cross-section of the

Church of Santa Maria

del Mar.

c.

GIOTTO and others.

1328.

Campanile,

Barcelona, Spain.
In addition to

with

a single,

churches

wide nave,

Gothic architects

Cata-

in

lonia also built churches

with side aisles that were

almost as
nave.

lofty as the central

One

of these

is

the

Santa Maria del Mar church,

which was paid

for

by rich

merchants of the town.

The lack

of

ornamentation

illustrates the purity of

design of this example of

Catalan Gothic architecture.

1324.

c.

Florence Cathedral,
Florence, Italy.
Giotto's activities as an

architect should not be

forgotten or considered

secondary
a painter.

work

to his

It is

as

likely that

Giotto supervised the

building of Arena Chapel

Padua, as well as decorated

the interior.

He

also

designed the Campanile,

or bell tower, lor the cathedral in Florence, overseeing

the

work from

his

death

H until

in L337.

>1

JUAN GUAS. Church of

San Juan de los Reyes.
1477-1504. Toledo,
Spain.

During the reign of

Ferdinand and

Isabella,

a particular Gothic style

developed in Spain. Called

the Isabel style,

it is

acterized by

intricate

decoration.

its

char-

The monastery

of San Juan de los Reyes,

which Ferdinand and

Isabella founded, contains
this chapel.

It

was

built

as a burial chapel. There

is

abundant decoration, but

it

does not intrude on the

overall feeling of spacious-

ness.

The

single nave

adds

to this effect.

defied the

power of the monarchy. They

built

showy town halls as

the seats of city government.

Such town

found

in Italy,

halls are

and

The Casa de

in Brussels
la

in Florence

and Louvain

and Siena

in Belgium.

Ciudada, in Barcelona,

is

perhaps

Spain's best example.

There were aristocratic mansions built in cities

too.

One example

is

the Palace of the Doges in

Venice. In France, one of the best examples

house of Jacques Coeur,

It

a great

is

the

merchant prince.

has a fine courtyard and staircase tower.

Many European towns

still

retain parts of the

medieval walls that once surrounded them. These

walls served as physical

32

and

social boundaries

Milan Cathedral.
1385-1416. Milan,

Work on

is

Italy.

this cathedral

was

slowed by controversy over

the bold design. Milan

is

the second largest of the

medieval cathedrals.
is

It

built entirely of white

marble-even the

for the

flat

roof

covered with marble

slabs.

Many leading Euro-

The exuberant decoration

makes

this cathedral very

pean architects of the day

different

were consulted on

tecture farther south in

design.

its

The documents

from the archi-

Italy.

describing these consultations give a valuable

insight into the planning

and design of a cathedral.

townspeople. Often the legal status of

those living inside the town walls was totally

different

from the status of those living outside.

Within the walls of

a town,

one found the

important institutions of medieval

life:

the

ARNOLFO DI CAMBIO.
Church of Santa Croce.
c.

1295. Florence,

Italy.

The Church of Santa

Croce, designed by Arnolfo
di

Cambio,

is

the finest

example of a Franciscan
Gothic church. The walls
have no carving and are
suitable for painted decoration.

The Bardi and the

Peruzzi chapels in the apse

were decorated by Giotto.

The church contains many

richly decorated
far

chapels-a

cry from the simplicity

preached by Saint Francis.

cathedral;

the

monasteries (usually

outskirts of the town);

and
to

hospitals.

the

at

and the palaces, guildhalls,

The degree of importance attached

these places determined

the

particular

organization of each town.

Ground plan of a
Cistercian monastery,
c.

1140. Fontenay, France.

Monks from

Clairvaux,

where Saint Bernard was

abbot, started to build the

monastery of Fontenay

in

Burgundy around 1140.

The buildings have survived almost intact and
give us a very

good idea

of life within a Cistercian

around which are grouped

dormitory. The church

community To

the library the chapter

in the shape of a simple

(meeting) house, and the

Latin cross.

the church

34

is

the right of

the cloister,

is

GUILLEM SAGRERA.
Exchange. 1426-51.
Majorca, Spain.
Civic architecture in

Aragon

in

assumed

northeast Spain

as

much

im-

portance as religious
architecture, possibly even

more.

When Sagrera began

building the exchange in

Majorca

1426, his

in

contract required that the

work be completed in
12 years. However, when
Sagrera

left for

Naples

1477, the exchange

in

was

unfinished.

Most Gothic towns were

linear,

cross-shaped,

or had streets radiating out from the center.

Generally, these streets

would curve around the

boundaries of each quarter of the town. The

main

streets led to

and from the town

gates.

Citadel of Carcassonne.

Late 13th century.

Carcassonne, France.
Carcassonne, France, was
the residence of the military

governor of the

surrounding conquered
territories.

The town was

therefore fortified.

Carcassonne

is

Toda)

one

best preserved of

of the

all

medieval fortress towns.

had

double ringol

Within the

It

walls.

walls, the

Cathedral of Saint Nazario

and the old

castle are

noteworthy, rhe street plan

Some documents

describing town

the period have survived. For the

life

most

during

part, the

retains

it

medieval layout,

even today.
*5

Refectory of the

Monastery of Santa
Maria de Huerta.
Early 13 th century.

Santa Maria de Huerta,

Spain.

Founded

in the

middle

of the 12th century, the

monastery of Huerta was

once the most important

monastery

in Castile.

It

enjoyed royal protection.

The
is

refectory, or dining hall,

Gothic in design. The

architect sought to
size the

empha-

openness of the

internal space by

embed-

ding features such as the

staircase

and lectern

in the

thickness of the walls. The

ceiling has sexpartite (six-

part) arches.

town was seen

ment

of

which

36

as

an ideal place

for the develop-

community and trade-and

make one's fortune.

to

as a place in

SCULPTURE

Sarmental Door.

Gothic

1230-40. Burgos

de-France. In

The Sarmental Door, so

it

first

appeared

in the

facades of the great cathedrals of the

Cathedral, Burgos, Spain.

called since

sculpture

faces the

ture

Romanesque

had been restricted

to the

Ile-

doors, sculp-

tympanum and the

But in Gothic doors, sculpture played an

vine market of the town

lintel.

(sarmiento means vine

important part in the overall architectural design.

the southern

This was another development of the Gothic style

shoot),

is

door of this cathedral.

It is

one of the oldest doors of

that

began

at the

Abbey

of Saint-Denis.

When Abbot Suger began the facade of his new

the Castilian cathedrals.

The

central

theme

is

the

Apocalypse, with Christ

shown

in majesty.

He

is

surrounded by the four

evangelists,

who

are

dressed as 13th-century
scribes or clerks,

and

their

symbols. The apostles

appear on the

lintel

archbishop

depicted on

is

the central column.

and an

The

sharpness of the composition is typical of sculpture

at the start of the

period.

Gothic

abbey, his design included images of royalty as

ANONYMOUS.
Horseman. 13th century.

Bamberg Cathedral,
Bamberg, West Germany.
Sculpture in the great
cathedrals of the

Germanic

world developed from the

style

begun

became
lifelike

Reims, but

at

less graceful

and

and displayed more

angular forms.

No

longer

confined to facades, sculpture

began

to

blossom

inside churches. Portraits

of princes and nobles were

commonly carved on
pillars. Some historians
believe the rider shown
here was a member of the
imperial family. Others
believe

him

three kings

to

be one of the

who

traveled to

worship young Jesus.

well as images of the saints. Kings, queens,

figures

and

from the Old Testament were grouped

together on what

became known

as the Royal

Doorway. There was obviously a desire

the image of the king

and

to give

to

him

enhance
a greater

aura of royal dignity.

At Saint-Denis, columnar-statues-columns

with almost free-standing portrait statues carved

on them-appear

for the first time.

With

the

appearance of columnar-statues, monumental

sculpture began to break free from

its

minor

as part of the architecture of a building.

role

The

statues were not merely an addition to the

38

ANONYMOUS.

The

Annunciation. Late 13th

century.

Reims Cathedral,

Reims, France.
Reims Cathedral, despite
the

bombardments

suffered during

War

still

I,

it

World

possesses an

extensive variety of Gothic

sculpture. This sculpture

from above the central

doorway

illustrates the

variety of sculptural

and

style

found

cathedral.

Mary

is

at

form

the

The image of

from an

earlier

period than that of the

angel.

The Virgins

stiff

pose

contrasts greatly with the

elegant lines of the gentle,

smiling angel. The figures

seem

to

be independent

of the structure of the

building

building, but rather a sculptural extension of

This

new harmony between

itself.

it.

architecture and

sculpture was the starting point for the great

Gothic doorways.

During the early 13th century, work began

on the doorways of the

been started

in the

great cathedrals that

had

previous century Laon,

Chartres, Paris, Amiens, Bourges, and Reims.

Architectural points

of a

The Royal Doorway

at

Chartres (1145-55) was

I.

modeled on the Saint-Denis doorway both in

structure and in the way the saints are depicted.
Its magnificence lies in the clarity with which
the various

themes are portrayed.

doorway

Archivaults 2.

Tympanum
column

3.

Lintel 4. Central

5.

Statues or column-

figures

6.

|ambs

Plinth

or Pedestal

\9

CLAUSSLUTER.
Moses's Well 1395-99.

Carthusian monastery at

Champmol,

Dijon,

France.
Sluter considered sculpture to be separate

from a

building. In this sculpture,

Moses and other Old

Testament prophets

surround a symbolic

The decorative
sculpture

is

well.

effect of this

enhanced by

the sheer exuberance of the

draperies

on

the figures.

The Carthusian house

at

Champmol in France was

chosen by the Dukes of

Burgundy

as the burial

place of their dynasty. This

explains the building's

superb decoration.

The sculptures on these doorways

refined than were those
drals. Figures
liveliness.

are more
on Romanesque cathe-

were positioned

They tended

to

to suggest a certain

be smaller, more lifelike,

and less exaggerated in length than those created

Romanesque era. The shape of the human

body could be spotted beneath the figures'
in the

clothing,

and

realistic expressions,

characteristic smile, appeared

on

such as the
faces of the

sculpted figures.

The Last Judgment

the central

tympanum

is

theme used often

in

of the Gothic doorways.

The scene shows a suffering but triumphant

Christ from the Gospel according to Saint
Matthew. Christ bears the wounds of the
crucifixion and

is

surrounded by characters

associated with the Passion. The lintels usually

show
40

the separation of the blessed from the

damned. The arches

are

adorned with choirs of

angels and other figures.

representation of Christ might occupy the

central
this

column of

the Gothic doorway, though

space was usually reserved for an image of

the Virgin Mary.

The

cult of the Virgin

is

a characteristic of

ANONYMOUS. Charles V.
1364-80. The Louvre,
Paris, France.

During the reign of Charles

V,

some

of the problems

that beset

European society

in the 14th

beginning

century were

be

to

felt.

Yet

the art of Charles's court

remained perfect and

refined. This statue of

Charles,

which was paired

with one of his wife, Jeanne

de Bcurbon,

some

illustrates

of the essentials of

Gothic sculpture from the

14th century.

It is

one of

the earliest portrait statues.

The sculptor sought

show

to

the king as a kind,

fatherly person. Portrait

statues

became more

popular during the 14th

century due to the great

number of patrons and

donors willing
immortalized

*-Uu,

to pa) to be

sculpture.

41

NICOLA PISANO.
The Birth of Christ. 1260.
Pulpit in the baptistery,
Pisa Cathedral, Pisa, Italy.

The inspiration

for Nicola

Pisanos style came from

southern

Italy,

where

Emperor Frederick

II

encouraged works that

imitated the art of ancient

Rome. Pisano's
work,

in

sical influences

seen,

first

great

which many

was

clas-

can be

this pulpit in the

baptistry at Pisa Cathedral.

But the quality of human

feeling

is

unmistakably

Gothic.

GIOVANNI PISANO.
The Massacre of the
Innocents. 1301. Pulpit

of the Church of Saint

Andrew, Pistoia, Italy.

among

Pulpits are

works

the

that best illustrated

the beginnings of Gothic

sculpture in

Italy.

Giovanni

was particularly encouraged by the

Pisano, son of Nicola

Gothic

Pisano, carved the pulpits

Cistercian order.

The Virgin was often represented

on the main or

side panels of the

in the Pisa
this

Cathedral and

church

in Pistoia. In

the
contrast to the classical
style of his fathers

Giovanni

work,

tried to bring out

the dramatic

and emotional

aspects of his subject.

It

has been said that his

art. It

tympanum

at

moment of her coronation.

Originally, the jambs-upright pieces

the sides of the door-displayed

that gave the

figures

name "royal" to

forming

crowned

figures

the doorways. These

were gradually replaced by images of

apostles or saints.

It is

also not unusual to find

sculpture was influenced

by French marble works.

Pisano himself produced

many

excellent

works

in

marble. The figure of Herod,

42

the figure of an archbishop in the place of honor,

on the

central column.

The elements forming these doorways

are

integral part of the facade of the cathedral.

an

The

in the top right corner,

leads this dramatic episode.

Though

at first

glance

the composition

seems

confused, the figures do

follow a series of diagonal
lines.

Like Giotto, Pisano

knew how

to

compose

his

sculpture based on pictorial

methods.

ANDREA PISANO.
Baptism of Christ. 1330.

Doors of the baptistery,

Florence Cathedral,
Florence,

Italy.

Andrea Pisano brought

a feeling of reality to his

sculpture. His best

works

known

are the magnificent

bronze doors of the

gables and pinnacles that crown the doors are

baptistery at the Florence

Cathedral. The scenes

linked to the galleries and upper sections of the

building. In

some

cases, the galleries

additional sculptures.

housed

Sometimes the doorways

projected outward, forming a type of porch.

and

stories of the saints

Each scene
its

These 13th-century doorways made the

They

depicted are from the

lives

more widely known.

life

of Saintjohn the Baptist.

own

just
its

is

enclosed

in

panel and contains

enough

theme

detail to

make

clear.

also presented an opportunity for sculpture

Whereas Romanesque sculpture

form of relief carvings on buildings,

in the round."

took the

Gothic sculpture was almost free-standing and

independent of the architectural elements

of the

The separation of sculpture from

architecture was a new and important advance.
Compared to the monumental works of earlier
building.

centuries, French architecture of the 14th century

is full

much

of small buildings. Sculpture

freer form.

The

figures often

no connection with the building

was used

seem

to

in a

haw

itself.

43

The cathedrals of Siena and Orvieto were under

construction around 1300.

Though

the buildings

were based largely on French models, the

sculptures were used in an original way. Instead
of being confined to the jambs and vaulted arches,

the sculptures are attached to the walls themselves.

At Siena, the characters designed by

Giovanni Pisano stand out from the wall and

have great movement and expression. At Orvieto,
the sculptures are

on the

pillars that separate

each of the doors.

Sculptured decoration

is

also given a great deal

of space inside Gothic cathedrals

Sculpture

is

and churches.

usually found around the presbytery.

In French cathedrals, a screen called the

screen divided the space reserved

and the choir from the

rood

for the clergy

rest of the church.

Many

of these screens have richly carved sculptural

decoration.
In Italy, the pulpit

became

the chief object for

MICHAEL PACHER.
Coronation of the Virgin.
1471-81. Parish church,

Saint Wolfgang, Austria.

Engraved and carved

pieces are

some

altar-

of the best

examples of late Gothic

sculpture in
the

Germany and

Low Countries. Many

altarpieces are exquisite.

They usually consist of a

central piece, with fully

Low

rounded sculptures, and

two hinged side panels that

were mass produced

can be closed. The interior

workshops, almost on an

of gilded

surfaces of the panels are

assembly

elements does not detract

carved in

Germany, the pieces were

relief,

and the

Countries, altarpieces
in

line system. In

exteriors or backs of the

individually carved by

panels are painted. In the

ters.

44

mas-

The piece shown here

is

considered to be Pachers

finest

work. The abundance

and decorative

from the order and control

of the whole piece.

Gothic sculptural decoration. In Spain, the pulpit

was usually situated in the middle of the choir, in

the center of the nave. This positioning allowed
the display of marvellous rood screens

made

of

carved wood. The walls of the choir were often

covered with magnificent sculpture, some of it of

monumental proportions.
Another area in which sculpture took hold and
flourished

made

was

in the altarpieces-carvings, often

of wood, that decorated the space behind

the altars.

It

was not

these altarpieces
especially in the

until the 15th century that

became

Low

truly

monumental,

Countries (Belgium,

Luxembourg, and the Netherlands) and Germany.

Throughout Spain there

altarpieces

made

are a great

many

of stone or alabaster. These

reached the peak of their splendor in the 15 th

ANTOINE LE
MOITURIER. Tomb
Phillip Pot.

c.

of

1480.

The Louvre, Paris, France.

Mourners-almost

life

size

-give a monumental

dimension
carving.

to this

tomb

The funereal

impression

is

heightened

by the flowing black robes

pieces, heavier than the

and hoods

that hide the

wooden sculptures of the north, focused attention

mourner's

faces.

century.

The stone

on the presbytery.

was
at

The tomb

at the Cistercian

abbey

Citeaux.

45

GIL DE SHOE. Tomb of

the Crown Prince Alfonso.

of Castile and Isabel of

Portugal.

The

tomb

in

Spain

at the

15 th century.

delicate

end of the

The crown

depicted on his

1489-93. Miraflores

alabaster

Monastery, Burgos, Spain.

sentative of the exquisite

knees, dressed in rich

Gil de Siloe, a Flemish

work of Flemish and

German artists who lived

robes, looking toward the

sculptor,

completed several

is

prince

repre-

high

is

altar.

impressive works in the

Miraflores Monastery.

He

created the altarpiece, the

tomb shown here, and the

tombs of the founders of
the

monastery-Juan

il

Funeral

monuments

express better than

anything else the attitude toward

in

Gothic society. Such

life

monuments

the need for certain individuals to be

after their death.

and death
also reveal

remembered

During the Gothic period,

more and more social

and became increasingly solemn.
Funeral chapels and tombs became widespread
and achieved a monumental dignity.
funeral rites acquired

significance

46

monuments,

In these

a statue of the

deceased

usually appears lying on the coffin, though the

person

may

also be

shown

praying, meditating,

or reading. Sometimes the person

is

depicted as

asleep or dead, often with an expression hinting

at the

pain of death. The figure would be dressed

ANONYMOUS.
Christ Crucified,

c.

1307.

Perpignan Cathedral,
Perpignan, France.

Emotion

is

dominant

one of the

characteristics of

Gothic imagery. The Virgin

would be
church robes and nobles would wear

as suited his position in life-a bishop

shown

in

armor or military outfits. Royalty might be shown

in robes representing their royal state or their

membership
There are

in a religious order.

many

types of Gothic funeral

monuments. Sometimes
larly the

tombs of

burial places-particu-

saints or royalty-were set

tomb
sort of public monument. More
tombs were placed in arched en-

apart in a funeral chapel. In special cases, a

became

frequently,

closures within church walls.

One

tomb decoration is
hooded figures in flowing robes. These
were mourners shown in various dramatic poses.
recurring theme of

that of

There are also devotional images in tomb

decoration. Intense, dramatic images of Christ
crucified,

and softer images showing the

relationship between the Virgin

the

and Child

are

is

shown

The

as a real mother.

crucified Christ

is

shown with compassion

intended to affect the

emotions of the onlooker.

most widespread. Themes such as the

and the burial of Christ are

Crucifixion

intentionally dramatized in order to appeal to

the emotions of the faithful.

47

PAINTING

Moral Bible. Late 13th

the field of manuscript illumination a

In

century. Toledo

distinct style

Cathedral, Toledo, Spain.

to emerge.

Around

the

year 1200, a very definite Byzantine influence

One of the principal groups

of miniaturists active in

began

appeared.

was marked by

It

a flowing style that

Paris during the reign of

gives a feeling of great vitality to the scenes

Saint Louis specialized in

depicted.

the production of these

As the 13th century progressed, illumination

became more important. Cathedral schools and

Bibles. This

example, given

by Louis IX

to

Wise,

is

Alfonso the

universities

demanded more books. These books

kept in the Toledo

Cathedral. These books

could no longer be written in the monasteries,

consist of biblical passages,

but were produced in specialized workshops set

graphically illustrated, to

up

form complete

histories.

The miniatures, which

in

this case refer to the

Crucifixion, have

windows found

to

show

a great interest in

made during the Romanesque period.

books had been used in monastic

communities.

are arranged to

churches of the time.

began

than those
Earlier

Many

of the books of the Gothic

age were for private devotion. They were mainly

resemble the stained

glass

growing European towns.

books. But they desired a different type of book

little

perspective or depth

and

in the

Royalty, too,

in

Psalters (collections of psalms)

books

called

religious nature
Paris

and private prayer

"Books of Hours." Books of a non-

became

were produced as

well.

the center for the production of

splendid manuscripts, mostly designed and

produced

for the

French monarchs. During the

reign of Louis IX (1226-70), exceptional

works
49

ANONYMOUS. Panels
from the tomb of Sancho
Saiz de Carrillo.

1300.

c.

Museum of Catalan Art,

Barcelona, Spain.
In these

tomb

grief-stricken

women

paintings,

men and

tear their hair.

intensity of the

theme

The
is

increased by the mourners'

gestures

and by the

style of drawing.

linear

The

tech-

nique used-the paintings

were done on parchment

and then fixed

to the

panel-resembles the work

of the miniaturists.

were produced. At the end of the 13th century,

miniatures often featured elongated figures on

VILLARD DE

backgrounds of gold and enclosed

HONNECOURT.

in stylized

frameworks.

Studies in Proportion.

Early 13th century.

Gothic mural (wall) painting developed

in

National Library, Paris,

southern Europe. As the Gothic style developed,

France.

the Italians began to search for

Honnecourt s
book contains many notes

Gothic architecture and wall painting.

referring to technical

shown merely as backgrounds behind the

in a painting, became an integral part

Villard de

points about drawing. His

studies of proportion are

reproduced here. From

these drawings
to

it is

understand how

50

possible
artists

ways

match was found when buildings,

to

combine

perfect

until then
figures

of the

compositions.

When

the Italian painters began to place

their figures inside architectural settings, they

saw

of the Gothic period

human body. The artists

were trying to break down
the human form into
the

geometrical shapes as a
basis for later stylization.

Psalter of Queen

Ingeburge.

c.

1200.

Musee Conde,

Chantilly,

France.
This Psalter (book of

psalms) belonged to Queen

Ingeburg, second wife of
Phillipe

Auguste of France

(1180-1223).

It

was one of

the earliest of the ornate

books made

for the

French

court and was probably

illustrated

by miniaturists

from the north of France.

The)'

may have had contacts

with English miniaturists,

for the

that

Byzantine influence

was widespread

England

undertook the

first

exercises in perspective. This

resulted in greater clarity in painting

and was

at the

time

in

is

very

evident in the depiction of

the saints.

The framing of

great step forward in the art of representational

each scene and the gold

painting.

backgrounds are similar

The decoration of the high

altar at Assisi is

to

Byzantine mosaic work.

an example of this combination of art and

architecture.

The painting enriches the

entire

building and has an intimate relationship with

It is unclear who actually painted
may have been Giotto, who was also director
of the architectural work at Assisi.
Giotto's principal work was the decoration of

the architecture.

it.

It

the Arena Chapel at Padua (1304-06).

that this

It is

clear

work was designed and executed by one

51

GIOTTO. Joachim
Expelled from the Temple.

1304-06. Arena Chapel,

Padua,

Italy.

Giotto's paintings cover

all

the walls of this Italian

chapel.

They

are mainly

scenes from the

life

of

Christ and the Virgin.

Though

at first sight the

paintings appear confusing, a feeling of order

soon prevails. The paintings

are

composed

for a

who is assumed

to

viewer

be

standing in the middle of

the chapel. This picture
the

first in

a series of pictures that

a story.

is

a narrative cycle,
tell

The architecture

of the temple stands out

against the blue back-

ground but

is

reduced

minimum

to

emphasize

to

the action of the figures.

person, with very

of the paintings

little

and

assistance.

The simplicity

their reflection of the austere

lines of the building lead art historians to the

conclusion that Giotto must have had a hand in

the construction of the chapel

52

itself.

=ft
1

TfSl
GIOTTO. The Marriage
Canaa in Galilee.

at

1304-06. Arena Chapel,

Padua,

Italy.

This diagram of Giotto's

painting shows the typical

composition used by the

artist.

The scene

set in a

is

building that opens out like

the front of a doll's house.

The

side walls give an

impression of depth

because of their slanted

angle.

The depth

is

emphasized by the
L-shaped table and the
positioning of figures

and objects around

The perspective

is

it.

not

scientifically accurate,

but

it

does provide

greater pictorial clarity

to the scene.

Each scene shows

figures

and events

Giotto's mastery at placing

in the

most realistic of settings,

at shunning ornateness or stylized drawing, and

at cutting
is

out

all

extra detail. Giotto's composition

based on simple geometrical shapes,

DUCCIO DI

emphasized by architectural

BUONINSEGNA.

Majesty.

1308-11. Cathedral

Museum, Siena,

It

saints.

It is

the Byzantine tradition

has a monumental

Gothic

art,

Renaissance

her majesty surrounded

is

his followers

were creations

at the

very edge of

front of this

by angels and

On

open

has been said that the works of Giotto and

Italy.

work
shows the Virgin Mary in all
The

features that

out to give space to the scenes.

in

and

effect.

the reverse panels there

their time,

or were even early examples of

art.

They

are considerably

ahead of

but they are definitely of the Gothic

period.

As important

as

Buoninsegna was no

Giotto was, Duccio di

less important.

He worked

an extensive narrative

cycle based

The

on the Passion.

artist's style is

to that

similar

shows

it

the delicacy

demanded

altarpieces. Duccio's
for

painting on panels. The

work commanded
high price.

style of expression

the church at Assisi

used by mural

painters, yet

mainly in Siena, where he painted on panels.

The new

is

used on the walls of

found

work has

Duccio's

a great degree of

exuberance.
Italian painting evolved

from the new use of

a very

the perspective

it

had introduced. The

painters eventually created a

54

in

new

Italian

vision of the

JUAN OLIVER.
Paintings in the refectory

of Pamplona Cathedral,
1330. Diocesan Museum,
Pamplona, Spain.

suffering

These paintings-signed

by the abundant blood

is

emphasized

and dated 1330-show

flowing from his wounds.

Gothic

The blood accomplishes

to

artists

beginning

move away from simple

linear design. Color

also

is

becoming more important

than

it

had been

in earlier

redemptive role

its
it

when

reaches Adam's skull at

the foot of the cross. To

shown

the right are

the

works. This central scene

Jewish people, and to the

shows Christ

left

with three

w&iuinftf ''iotfN> <vr.,mCoi rninv(r uim'r

crucified

nails. Christ's

vm w Aotmfl

are Saint John with the

holy

women.

3SHS

*0fttv

>*;

i?^Bmn9

^5

aaaan*

ANONYMOUS. Pentecost.

Italian

Fragment of an altarpiece.

piece

c.

1347.

Narodny Gallery,

models. This

is

altar-

believed to have

been created by

working

Prague, Czechoslovakia.

artists

After his coronation,

the emperor.

group of

directly for

Emperor Charles IV took

up residence

in Prague,

Czechoslovakia.

He turned

the city into one of the

most

CONSTRUCTION OF
AN ALTARPIECE

important

artistic centers

The

of the day.

Much of the city

monumental dignity during

was

rebuilt

and painters

and sculptors were

work
everywhere. Bohemian art
was much influenced by

56

at

altarpiece acquired

the Gothic period.

It

could

consist of a painting, a

work in precious
or a sculpture.

It

metal,

was

world embodied by the Renaissance. The French

traditionally divided into

on the other hand, retained established

sections horizontally and

court,

artistic values in painting.

Italian art

of

were borrowed by the French, they

were treated very

In the

Though elements

stylistically.

vertically.

Usually

surrounded by

it

was

a dust

guard

and was often crowned by

pinnacles, or spires.

miniatures by Jean Pucelle-especially

those found injeanne d'Evreux's

Book of Hours-

golden backgrounds give way to architectural

backgrounds. The architectural backgrounds

appear to be directly inspired by Duccio's work.
Pucelle's miniatures

have some of the

traits

of

SIMONE MARTINI.
The Road
c.

to Cafaary.

1340. The Louvre,

Paris, France.

done in Siena con-

Painting

tinued the style established

by Duccio-especially
the

way

the

human

in

figure

was portrayed with tenderness and emotion. Simone

Martini began working in

Siena and contributed to
the international spread of
this style of painting. The
work shown here forms
part of a polyptych-

an arrangement of four
or

more hinged

The

panels.

intensity of color

and

attention to detail link

this

work closely

miniature

style.

to the

The work

did indeed directly influ-

ence some miniaturist

painters.

57

S?nwx\ mmnm umM&

Muotent **tranw

p^c-cma mamim
auuDfrt etCaioinc-a".

jmntreemcttmtaw

**C5
%

inftm:nruaaite$ttjgt
<**

I
r

nmtmnrmh $ <ximx

Mmxmmt- # ^goxmmm^
ef fowpnum #pi #wfmtm 4mi
joflttimefliftqw-fltt.alKi ate

ttttiftWtttmwncwrtfr'twt
cutm-iiuntuo ditmo ntttna

14th-century illuminated manuscripts. Pucelle

achieved

harmony between

text

and image by

the ornamentation of initial letters

and by

decoration in the margin

and pictures interspersed

with the

text.

These

elements are typical of the

decoration in the margins of the manuscripts.

13th-century miniaturists.
In contrast with the

Opposite, JEAN

excellence with thejeanne

PUCELLE. Breviary of

xTEvreux's

Jeanne d'Evreux. c. 1330.

Musee Conde, Chantilly,

Pucelle used grisaille,

the restricted range of

painting with tones of a

colors used here

France.

single color,

Book

of Hours.

which gave the

This breviary, or prayer*

effect of sculpture to his

book, cannot compare

figures.

in

abundant golden backgrounds

in

some books,
empha-

sizes the delicacy of the

style.

This page features

POL, HERMAN, and

JAN DE LIMBURG.
June from the Tres Riches
Heures du Due de Berry.
Pre-1461. Musee Conde,
Chantilly, France.
If

any of the miniatures

this exquisite

out,

the

it is

in

book stand

those illustrating

months of the

calendar.

The labor of the month of

June

is

shown with

little

or

no perspective. The scene

takes place in a countryside

dominated by recognizable
castles.

The harvest

is

gathered in front of the

royal palace

bank

on the

The church on the

is

far

of the Seine in France.

right

the Sainte Chapelle.

The

contrast between the

simplicity of rural

life

the aristocratic castle

and
is

typical of the style ol

the tune.

The

traditional

golden background has

been replaced by

a bright

blue sky. The raised viewpoint gives

depth

some

feeling ol

to the landscape.

59

JAN and HUBERT VAN

EYCK.Polyptychofthe
Sacrificial Lamb. Center

The peak of Gothic miniature painting was

of Saint Bavon, Ghent,

Due de Berry. His

passion for collecting books led him to fill a
library with splendid manuscripts and to

Belgium.

commission Books of Hours from well-known

panel. 1432. Cathedral

An inscription on

reached

artists

the

outside of this wonderful

piece states that

it

made jointly by

was

at the

court of Jean,

with varied

styles.

An "international" Gothic style developed and

it

dominated European courts

until

around 1400.

the

brothers Hubert and Jan

van Eyck.

It is

said thrt

no one surpassed Hubert's

though

skill as a painter,

his brother

was

said to be

a close second. Historians

are not sure

this

which parts of

polyptych were painted

by which brother. The

center panel

is

dominated

by the vision of omnipotent

God, together with the

Virgin and Saintjohn.

The

lower panel represents the

adoration of the lamb. In
front of the altar

the

lamb stands

on which
is

the

fountain of life with

crowds of saints and

biblical characters

toward

moving

it.

JAN VAN EYCK. The

Arnolfini Marriage. 1434.

National Gallery,

London, England.
Giovanni Arnolfini was an
Italian

businessman

who

lived in Bruges with his

Giovanna Cenami.

wife,

The couple

room

60

full

are

shown

in a

of objects thai

reflect their

everyday

the dog, the

wooden

life

clogs

fruit

bowl, and, above

the mirror

on the

wall.

all,

The

Arnolfini wears to avoid

mirror serves as an unusual

the filth in the streets, the

pictorial device,

showing

us other persons present

in the

room. The

artist

has

simple scene are

many

symbolic references

to the

signed the work "Jan van

sacredness

Eyck was

The hiding of symbolism

here."

Within

this

ol

marriage.

in reality

was one

ol

the principles ol Gothic

painting that Flemish

artists

used extensively

01

BARTOLOME BERMEJO.

In this style, the stiffness of earlier Gothic art

Saint Dominic of Silos.

softened by the natural feeling introduced by the

Museum,

1474-77. Prado

Italian painters.

is

However, while the Italians

Madrid, Spain.

The abundance of decoration that characterizes

late
is

Spanish Gothic work

clearly

shown on

altarpiece.

abbot

The

this

saintly

in his robes

is

solemn, but this does not

disguise the deep

humanity

shining out from his

Each tiny

detail

is

treated, revealing

face.

carefully

some

of

the techniques developed

by the Flemish painters.

The

figures

above the

throne add a touch of color

and

liveliness to this im-

pressive picture.

HANS MEMLING.
The Holy Women. Late
15th century. Royal

Chapel, Granada, Spain.

During the 14th and

15th centuries, kings and

queens

many
first

in

Europe collected

precious objects. At

these were valued for

their exotic or luxurious

nature. But they

soon came

to

be appreciated as works

of

art.

Thus were formed

the beginnings of great art

collections. Ferdinand

and

Isabella of Spain collected

many

manuscript:, books,

jewels, tapestries, and

62

painted a simple

reality,

courts preferred an exotic

trasts

and

detail.

northern European
reality, full

of con-

above

all,

paintings. Stand-

finest

the diptych (a

is

notable for the impression

ing apart from the rest of

picture

the paintings are those by

panels) of which this scene

Flemish

artists.

One

of the

is

on two hinged

a part.

The painting

ol griel thai

is

it

conveys, the

placing ol the figures, a\k\

the background.

63

This contradiction

is

obvious in Flemish

-work produced in the towns and cities

painting

of Belgium- during the 15 th century.

A new
Flemish

technique-oil painting-perfected by

artists

allowed painters to capture detail

way far superior to that of the miniaturists.

The new technique allowed artists to obtain
in a

previously undreamed-of effects of light and color.

The

final effect of the

Flemish work was

nevertheless unrealistic, partly because of the

lack of

movement and

the paintings.

JAUME HUGUET. Saint

George and the Princess.
c.

1445.

Museum of

Catalan Art, Barcelona,

Spain.
This image of Saint

George, attributed to

Jaume Huguet, seems

to

have been the center panel

of a triptych. (The two side

panels are in the Berlin

Museum.) Saint George,

dressed as a gentleman of
the time,
elegantly.

is

portrayed

There

is

some-

thing of the international

Gothic style about

painting,

this

mixed with

certain Italian

air.

This

is

probably one of Huguet's

early works. His later style

was very much influenced

by the

tastes of his clients,

who preferred shiny golden

backgrounds

to scenery.

The extraordinary humanity

and the vague sadness

of the figures are the

interest in Huguet's

pictures.

64

main

the heavy

symbolism

in

LLUIS BORRASSA.
The Fall of the Antichrist.
1416. Panel from the
altarpieee in the Church
of Saint Michael at
Cruilles.

Museum of Art,

Gerona, Spain.

Borrassa was one of the

scenes from the altarpieee,

great fans of the inter-

oneol

national Gothic style in

works. The gold background

Catalonia. Extensive

emphasizes the unreal

records detail his

busy
is

life

and

artistic activity. This

and

Borrassa's later

fantastic nature ol

the scene.

one of the outstanding

65

ROGER VAN DER

WEYDEN. Descent from
the Cross,

c.

1436. Prado

Museum, Madrid, Spain.

Just asjan van Eyck

gave his paintings a very

symmetrical, or balanced,

appearance that tends

to

make them static, so Roger

van der Weyden is known
for the

This

rhythm he conveyed.

work is a good example

of that rhythm.

The

parallel

positions of Christ and the

show

Virgin are intended to

many

Jan van Eyck produced

the feeling of compassion

which he shows

so dear to the Gothic

used modern treatments of

This scene, almost

spirit.

sculptural within

frame,

is

its

closed

masterpieces in

his great artistic sensitivity.

light, space,

perspective and was one of the

first

He

and

Gothic

painters to develop the portrait as a likeness of

the central panel

the

sitter.

of a triptych.

being the

He also put forth the idea

work of a specific painter.

of a picture

KONRAD WITZ.
The Miraculous Draught
of Fishes. 1444.

Museum

of Art and History,

Geneva, Switzerland.

The

altarpiece in the ca-

thedral at

Geneva was

magnificent sculptured

work protected by painted

panels.

It

was dedicated

to

Saint Peter, patron saint of

the cathedral.
the

The town

in

background of this

panel

is

Geneva. Mont

can be seen

Blanc-

in the distance.

Apart from the un sually

faithful reproductio

lofan

actual landscape, transpositions of time

66

and plat

(such as this placement

biblical scene in a

ol a

medieval

setting) are characteristic of

Gothic painting. There

is

strong Flemish influence in

much

of Witz's work.

ENGRAVING AND
OBJETS DART

At

the

end of the 14th century and during

the 15 th century, the technique of printing

was developed

came

in

northern Europe.

It

be-

possible to mass-produce images and texts.

The printing process spread learning and knowledge across Europe

and

it

allowed for the mass

production of pictures by engraving.

Initially,

wood

engraving was used to produce

playing cards and small prints.

to illustrate

popular

usually colored by
lettering

known

texts.

It

was

also used

Engravings were

hand and included

stylistic

as calligraphy.

By the 15th century, engraving was being done

on copper

sheets. This

development

parallels the

invention of movable type and the printing press.

Engraving on copper was a great advance because

it

allowed a more exact reproduction of the

original

wood

drawing and much

finer detail than did

engraving. The era of artistic engraving

had begun. Martin Schongauer was one

15th-century engravers

who

of the

represented the

height of Gothic engraving. Gothic painters were

inspired by Schongauer

engravings or used them

as models. This type of influence

first

results of the

was one

ol the

mass production of images.

7

Stained Glass
the 13th century,
During
windows ceased
to

stained glass

be seen merely as

decoration for Gothic churches. These

windows were thought of as

became an integral part of the

clear walls

and

architecture

and

the space within buildings.

window

Basically, a stained glass

many
form

consists of

multicolored pieces of glass arranged to

a figure or a scene.

The pieces

are held in

place with strips of lead (called leading).

stained glass
artist,

The

window would be designed by an

perhaps a famous painter. The glass would

be arranged over the design, and colors would be

chosen. Different thicknesses of glass created
variations in shading

and

tone.

The main outlines of the design were defined

by the leading. The

details

were painted in with

vivid colors using the technique of grisaille.

windows in Gothic
churches were usually tall and narrow. The
The spaces assigned

for

to

be governed by

frames.

Sometimes the

themes of the artwork tended

the shape of the

window

scenes were arranged in a series of medallions,

or panels. Scenes from the Old

ANONYMOUS.

The Tree

ofJesse. Late 12th

Century. Chartres

and

New

Testaments were frequently used in the windows.

As windows became

larger,

they tended to be

divided horizontally.

Cathedral, Chartres,

The most spectacular of all Gothic stained glass

France.

The stained

glass

windows

windows

are the magnificent rose

windows

windows-

with tracery-of the

of Chartres Cathedral are

circular

among

Gothic cathedrals. Their messages were varied,

the

most extensive

and best preserved win-

dows

of the Gothic period.

The image of the Virginto

whom the cathedral is

dedicated-oc cupies the

central

68

window

of the

filled

though always symbolic. Very

often, the Last

Judgment would be used

windows

for the

of the

western facade of a cathedral, with Christ and

Mary

in the

transepts.

windows

Among

of the north and south

the finest of Gothic rose

presbytery.
is

The

tree of Jesse

frequently used in Gothic

art. It is a

symbolic repre-

sentation of the lineage

of Christ.

The

vertical

orientation of this image

and the imitation of a

tree's

foliage is well suited to the

shape of the windows.

Sainte Chapelle. 1248.

Paris, France.

This chapel represents the

ultimate achievement in
the substitution of glass for

stonework

in the walls of

a building. This

was made

possible by the devel-

opment of architectural

windows are those of Notre Dame in Paris, and of

Reims, Chartres, Lausanne, Orvieto, and Siena.

techniques during the

Gothic period, such as

flying buttresses, that

Gold,

Silver,

allowed the interior space

and Enamel Work

an age so devoted

to refinement

of a building to be

and luxury,

Inthe working of precious metals occupied an

important place. From the beginning of the
13th century, the use of gold and silver increased-

and not just in

religious works.

Though few non-

religious

works have survived from

we have

records of them. The inventories of

this period,

medieval kings and queens frequently mention

the names of specific jewels. The "Castle of Love"
was owned by Pedro the Ceremonious, and the

completely uncluttered.

The emperor of Constantinople ordered the

building of the Sainte

Chapelle to house the

crown of thorns and other

The building

relics.

one above the other.

still

in existence-is in the

near Munich.

church of Altotting,

he

walls of the upper chapel

have been almost complete!)

"Golden FoaL-one of the loveliest medieval jewels

actually

consists of two chapels,

transformed into

stained glass
depic

windows

that

scenes related to the

Passion ol

In 1st

69

PERE BERNEC and

others. Altarpiece.

14th century. Gerona

Cathedral, Gerona,
Spain.
This silver altarpiece,

which stands on the high

altar of

Gerona Cathed

was made

al,

in several stages

during the middle of the

14th century.

One

There are also crowns, scepters, and other royal

pieces. Jewels for individual

of the
later.

Drinking vessels,

most important craftsmen

was

Pere Bernec,

remarkable

The piece

and tableware were

luxurious works of precious metal.

who

No

signed the base of the

central scene.

adornment appeared

plates,

is

for the trans-

parent enamels used to

less

church

luxurious were the pieces

use.

Many

made

allowing us to study Gothic techniques of

metalworking and enameling. Both those

beautify the work. This

for

of those pieces have survived,

are closely tied to that of

skills

monumental sculpture.

altarpiece also has a

canopy or covering.
particularly fine

It is

example

of Gothic altar decoration.

Just as the illumination of manuscripts tended to

become

stylized during the Middle Ages, so too

did the decorative

The most

work

of goldsmiths.

striking technical innovation of the

Gothic goldsmiths and silversmiths was the

application of transparent or translucent enamels

over gold or silver that had been worked in basrelief.

This resulted in beautiful colored

The main centers of production

effects.

for these pieces

were the principal courts of Europe. Rulers

commissioned the most sumptuous works and

employed the

finest craftspeople to create

In the 13th century, the cult of relics

70

them.

became

increasingly popular. This popularity

the appearance of
Christ.

many

The Sainte Chapelle

house the crown of thorns,

cross,

and other precious

Some

was due

to

relics directly linked to

in Paris

was

built to

fragment of the true

relics.

of the reliquaries (containers for the

ANONYMOUS.

Virgin.

Reliquary ofJeanne
d'Evreux. Pre-1339.

The Louvre, Paris, France.

Queen Jeanne d'Evreux
gave this reliquary to the

Abbey of Saint-Denis
1339.

It

contained

in

relics

associated with the Virgin

and

is

work

typical of the

of goldsmiths of the

Gothic

age.

Manuscript

illumination and precious

metalwork are often

incorrectly referred to as

"minor
skills

arts." In fact,

were

both

at the forefront

of experimentation in form

and

style

era.

This piece

Gothic.

during the Gothic

is

typically

The base is adorned

with transparent enamels.

sacred relics) had the form of arks, chapels, and

Other Gothic reliquaries were

religious buildings.

shaped

like the relics

they contained.

Some had

very fine bas-relief ornamentation.

Goldsmiths of the time demonstrated

increasing skills by
crosses,

and other

their

making chalices, processional

liturgical items.

Some of these

pieces are truly spectacular.

Tapestries

The

art of tapestry flourished in

Europe

during the 14th century There had doubt-

less

been earlier experiments with

tapestry,

but no examples have survived.

Tapestries were produced from

drawn or

painted designs and were used to decorate rooms

in palaces

and large mansions. They also kept out

some of the drafts in these buildings. The themes

depicted were nearly always related to life at court
or to the activities of knights. Occasionally,
religious themes, chiefly

from the Old Testament,

were used.
Tapestries were usually designed for use in one
palace, or even in

story

one room.

A complete cycle or

would be illustrated by a series of tapestries.

Making a tapestry was

complex

a long,

task. In

addition, costly materials-silks and gold thread-

were needed. This limited the enjoyment of

tapestries to a very wealthy few
to

who could afford

commission them. As would be expected,

production was centered where the

textile

industry was already developed in Europe, chiefly

in the

Low

Countries. In

Italy,

other textile

arts,

such as embroidery, damask work, and needle-

work with

silks,

had developed and enjoyed

extraordinary success.
Paris

72

was also an important center for tapestry.

The workshops

at

Arras in northern France

ANONYMOUS.

Vision.

Tapestry from the series

The Lady and the Unicorn.

Late 15th century. Cluny

Museum,

Paris, France.

The Lady and the Unicorn

is

one of the most beautiful

Gothic tapestry

series.

There are six scenes,

all

depicting the lady, the lion

bearing a standard or
banner, and the unicorn.

may represent
human senses-this

This scenes
the

one possibly

refers to the

sense of sight, because of

the mirror the lady holds.

The background of vivid

acquired great renown and became the main

red

producers of tapestries during the Gothic period.

decoration and animals.

tapestry lack

word "arras" was used to describe

hanging. The designs of Arras
perspective. They usually show a

number

of figures against an architectural

In England, the

this style of wall

large

is

is

covered with

not

where

It

known for certain

this tapestry

was

woven. The excellent design

and refined elegance make

this tapestry typical of

work done during

or rural background.

floral

the later

part of the Middle Ages.

Ceramics

The

principal centers for the production of

ceramics during the Gothic period were in

Spain,

world was
Islamic,

felt.

where the influence of the Islamic

Ceramic production methods were

and so was the majority of the work

force.

Glazing techniques using tin oxide and lead

originated in the East. These were adopted in

Spain and spread across Europe. These glazes

produced metallic reflections and were often

combined with

a brilliant cobalt blue.

Although

became more Westernized,

they were never totally free from Eastern

ceramic designs

later

influence, nor did they develop

of colors.

much

of a range

7^

ANONYMOUS. Ceramic
plate

from Manises.

Ceramics from Manises in Spain looked elegant

and

costly.

15th century. Instituto

Valencia de

Don Juan,

Ceramic designs from

Manises typically combined
blue and another color

Themes were

usually

limited to heraldry, inscriptions,

in

and animals shown

hunting

This ensured the ceramic

settings. This

work a place

and princely palaces across Europe.

Manises ceramics appear often

Madrid, Spain.

glaze.

in royal

in paintings of

the time.

more general use were often

shades of green and brown. Designs

Ceramic pieces
designed in

in

were inspired by the Islamic world and featured

geometric patterns, animals, and persons placed
face-to-face.

plate has a shield at

the center, with a design

resembling ivy leaves on

Ivories
the rest of the surface. This

design was repeated

fairly

often throughout the 15th

century. In

some

cases, the

undersides of these plates

were also decorated with

patterns of animals.

74

elicate ivory carving

was brought to a fine

degree of perfection during the Gothic

period. Just

when

earlier uses for ivory,

such as decoration

for

book covers, seemed

to

be

dying out, aristocratic and middle-class commissions for ivory objects increased.

carving

is

Though

ivory

often linked to religious arts, ivory

objects are not found only in cathedrals and

monasteries.

Many

ivory objects were created

for private use.

ANONYMOUS.
cover,

c.

Mirror

1300. The Louvre,

Paris, France.

When

not being used for

religious items, ivory

was

frequently used for small

trinket boxes, chests,

and

mirrors. Designs reflected

different aspects of court
life

and were frequently

inspired by scenes in literature,

such as conversations

between lovers or lovers

kissing.

A game

between

lovers,

here,

was the work of specialists, often

established sculptors.

Of

these,

the

most

outstanding carver was Giovanni Pisano.

The main center

for ivory

carving was Paris,

although there are some noteworthy examples

from English and

original

Italian

workshops.

In Spain

work in ivory was limited to a few figures

of Mary.

Notable ivory objects with religious themes

are

diptychs and triptychs carved with scenes

of the Passion or the

life

of the Virgin. Small

images of the Crucifixion and the Virgin were also

carved.

The carvings often

ol the time.

recall the sculptures

chess

was another common

scene. Note the

Ivory carving

of

shown

smoothness

of the relief carving in

this

mirror cover and the

supple, stylized, curvature

of the figures

GLOSSARY
altarpiece

painted or carved

work

of art

placed behind and above the altar of a

engraving The process of incising lines into

a surface to create an

image

church
facade The principal face or front of a

ambulatory

covered walkway; the semi-

circular passage

around the apse of

building

flying buttress

church

arch

curved structure used to span an

opening such as

window

upper nave wall out

or door

gable

apse

semicircular space at the east end

An arched bridge above the

church that reaches from the

aisles of a

to a solid pier

triangular structure above the

doorway of a Gothic church

of the nave of a church

gallery

bas-relief Sculptural relief in

projection from the surrounding surface

and no part of the modeled form

is

light

is

undercut

grisaille Painting

an external wall of a building, usually

to

help support a vault or arch

locks the other pieces into place

jambs The
as a

calligraphy Decorative or formal writing

executed with a quill or reed pen, or a

lintel

choir

An

horizontal bar across the top of

and the singing

marked
clerestory

choir, usually

off by steps, a railing, or a screen

A row

of

windows

in the

upper

part of a wall, used to provide direct

lighting in a church
cloister

on

aisle of a

from the entrance

church extending

to the apse

that

is

pierced or perfor-

ated with patterns and designs

A wooden surface used

for painting.

Often two or more panels are joined

pair of ivory carvings or panel

together to create an altarpiece.

paintings, usually hinged together

perspective

donjon The innermost and strongest struc-

76

metal

ivory, glass, or

nave The central

panel

and exercise

ture or central

window

ated manuscript; a very small painting

openwork Work

An open court attached to a church

panel in a wall or

miniature A single illustration in an illumin-

or monastery used for study, meditation,

diptych

bearing a sculpture or portrait

area in a church reserved for the

clergy

an opening such

window or door

medallion

A bishop's official throne

vertical sides of

door or window

brush
cathedral

with tones of a single color

in order to give the effect of sculpture

keystone The topmost block of an arch that

A projecting support built against

buttress

The second story of a church

which the

ower of a medieval

castle

technique for representing

spatial relationships

sional objects

on

and three-dimen-

a flat surface

A small, decorative structure cap-

pinnacle

ping a tower

polyptych

An

altarpiece

made

of several

panels joined together, often hinged

portico

covered Walkway, often

at the

entrance of a building

presbytery The part of a church reserved

for the clergy
relic

An

object associated with a saint or

martyr

Carved or modeled sculpture that

relief

projects from a

flat

background surface

screen, frequently orna-

mented with

sculpture, that separates

rood screen

the choir of a church from the nave or

transept

spire

tapering structure surmounting a

tower; a steeple
tracery

Ornamental stone ribbing and

pat-

work

tern

transept

section of a church placed at

a right angle to the nave

triforium The third level of a church

triptych

An

altarpiece with

one central

panel and two hinged wings

turret

A small tower

tympanum An arched

area over the lintel

of a door or window, frequently carved

with
vault

relief

sculpture

An arched

roof or ceiling

77

ART THROUGHOUT THE AGES

This chart shows

terms
ages. Tli
oi

time

The books
and

78

in

in the

cultural

the evolution of Western and Near Eastern art through the

are those that art historians traditionally use to label periods

arious cultures where definite stylistic tendencies have occurred.

Key

to Art series

examine the interplay of

artists, ideas,

methods,

influences that have affected the evolution of specific art styles.

INDEX OF
ILLUSTRATIONS
ANONYMOUS: Abbey of Saint-Denis
Abbey of Saint-Denis. Plan
and ambulatory

ol the

18

Dl CAMBIO, Arnolfo: Church

DUCCIO DI BUONINSEGNA:

ELY, Reginald and others: Kings

Albi Cathedral

28
39

Beauvais Cathedral

23

Bourges Cathedral. Ground plan

22

Alfonso

Bourges Cathedral. Cross-section

22

GIOTTO:

Canticles of Saint Mary. Frontispiece

plate

74

from Manises

Charles

41

Chartres Cathedral

21

Chartres Cathedral. Ground plan

25

Christ Crucified. Perpignan

47

Cistercian monastery

34

Citadel of Carcassonne

35

Door

ol

Dame

Judgment. Notre

Cathedral

Gerona Cathedral. Nave

Cathedral.

Ground plan

Papal Palace. Avignon

10

Pentecost.

Fragment

Psalter oi

Queen Ingeburge

Refectory.

56

an altarpiece

ol

Monastery

ol

51

Santa Maria de Hucrta

Reims Cathedral. Ground plan

36

27

Royal Doors. Chartres Cathedral

Sainte Chapelle

69

Sarmental Door Burgos Cathedral

37

Strasbourg Cathedral. Western lacadc

29

Toledo Cathedral. Ground plan

27

Tomb

ol

Sancho Saiz de

Panels

Jeanne d'Fvreux

Virgin. Reliquary ol

Vision Tapestry

athedral.

26
14

Wilton Diptych. The

BERMFJO, Bartolome:

Saint Dominii oj

BERNEC,

Pere and others: Altarpiece.

BORRASSA,

Lluis: The Fall of the Antichrist

COLOGNE, Simon de:

onstables

DESPUIG, Ramon:
Church

of

MEMLING,

The Road

to

57

Calvary

Hans: The Holy Women

MOITURIER, Antoine

le:

Tomb

45

Pot

MONTAGUT, Berenguer de:

Cross section

of the Church of Santa Maria del Mar

OLIVERJuan:
refectory of

30

Paintings in the

Pamplona Cathedral

PACHER, Michael:

Coronation

55

of the

44

Virgin

PISANO, Andrea: Baptism of Christ

PISANO, Giovanni: Virgin and ( hild
The Massacre

of the

Enguerrand:

42
\

reux

Pieta oj

Vi!Ieneuw-Ies-Avtgnon

VAN EYCKJan: IheArnol/ini Marriagt

VAN EYCKJan and Hubert: Pol) pty< h
Lamb.

42

Innocents

SAGRERA,Guillem: Exchange al Majorca

SLUTER, Clans: Moses's Well

VII

ol Phillip

40

ol the

60

enter Panel

LARD DE HONNECOURT:

hapel

in

Reims
12

65

16

WITZ, Konrad:

studies

or

the( ions

toss-section ol the

Santa Maria del Mar

of the City

MARTINI, Simone:

m proportion
WEYDEN, Roger van der: Descent from

hapel

Burgos Cathedral

59

LORENZETTI, Ambrogio. Good Government

Cathedral

70

Gerona Cathedral

Herman, andjan dtijune

Riches Hemes du Due de

Pol,

Ires

Sat nlicial

62

Silos

George and the

QUARTON,

73

'nicorn

31

of San Juan de los

50
71

Nave

Florence

68

from the series

The Lady and the

WelK

PISANO, Nicola: The Birth oj ( hrist

PUCELLEJean: Breviary ol Jeanne d'l

Carrillo.

Tree ofJesse. Chartres Cathedral

Galilee

64

Princess

20

52-5

32

LIMBURG,

33

Cathedral. Western facade

in

Temple

Reyes

15

75

Canaa

HUGUET, Jaume: Saint

30

48

at

the

Cathedral

Milan Cathedral

Dame
Dame

GUASJuan: Church

from the

Notre

46

GIOTTO and others: Campanile.

Berry

Toledo Cathedral

Prince

Saint Francis Preaching to the

The Marriage

38

Bible.

Crown

Birds

25

Moral

6
of the

Joachim Expelled from

Laon Cathedral. Ground plan

Mirror cover

54 55

Majesty

College Chapel

GIL DE SILOE: Tomb

Horseman. Bamberg Cathedral

Notre

Santa

34

19

Annunciation. Reims Cathedral

Ceramic

ol

Croce

apse

Fishes

the

Minn uhusDraughl

oj

66

JO

70

CONTENTS
INTRODUCTION

The Appreciation of Gothic Art

Geographical and Chronological Expansion

of Gothic Art

Historic Milestones of Gothic Art

Art and Society During the Gothic

Period

11

ARCHITECTURE
SCULPTURE

37

PAINTING

49

ENGRAVING AND OBJETS DART

67

17

68

Stained Glass

Gold,

Silver,

and Enamel Work

69

Tapestries

72

Ceramics

73
74

Ivories

GLOSSARY
ART THROUGHOUT THE AGES
INDEX OF ILLUSTRATIONS

76
78
79

ACKNOWLEDGMENTS
A.P.:

pp.

Aisa: pp.

3,
7,

23; Scala: pp.

5, 6, 8, 9, 13, 15,

16, 32, 37, 55, 63;

26, 31, 33, 34, 38, 39, 42, 43, 44, 52-53, 54-55, 60, 69;

Giraudon: pp.

10, 29, 40, 47, 51, 58, 59, 68;

pp. 18, 21; Index: pp. 30,

pp. 50, 64;

and

80

Narodny

Louvre, Paris: pp.

11, 41,

&

Architecture Collections:
London: pp. 14, 61; Ancient Art
70; Oronoz: pp. 36, 46, 48, 65, 74; Museum of Catalan Art, Barcelona:

45, 57, 71, 75; National Gallery,

Gallery, Prague: p. 56;

Prado Museum, Madrid: pp. 62, 66;

History, Geneva: p. 66; Organization of National

Museums:

p. 73.

Museum

of Art

BOSTON PUBLIC LIBRARY

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BRANCH LIBRARY

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Gothic art and architecture are lasting artifacts of medieval Europe.

During the Middle Ages, the church played a central
lives of the people; the cathedral

in the

role in the

was the most important institution

medieval town.

In The

Key

to

Gothic Art, Professor Jose Bracons presents the great

Gothic cathedrals. Through these massive buildings, and the

altar-

windows, and facades that adorn them,

expressed its reverence for God. Bracons shows us

pieces, stained-glass

medieval society

the medieval world-its politics, beliefs,

and customs-through

architecture, painting, sculpture, illuminated manuscripts,

other art forms.

THE KEY TO ART series:

THE KEY TO PAINTING
TH E KEY TO GOTHIC ART
THE KEY TO RENAISSANCE ART
THE KEY TO BAROQUE ART
Lerner s

THE KEY TO ART FROM ROMANTICISM

TO IMPRESSIONISM
THE KEY TO MODERN ART OF THE
EARLY 20TH CENTURY
This book uses the Otabind

system that allows the book

method

to

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and stay open.

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ISBN D-fiEES-EDSl-tD

its

and