Art History Teaching Resources



To finish our survey, let’s look at the very high point of church building in the Middle Ages, Gothic cathedrals:Focus: Gothic Churches – “the jeweled houses of God”? What does “Gothic” mean?A style of architecture, originating in France in the middle of the 12th century and existing in the western half of Europe through the middle of the 16th century,characterized by the use of the pointed arch and the ribbed vault, by the use of fine woodwork and stonework, by a progressive lightening of structure, and by the use of such features as flying buttressesTerm first used in the 16th century!! Seen by Vasari as anti-classical and therefore to be derided; Gothic = “of the Goths” ie. Old-fashioned and barbarian? Why was this period called “The Age of Cathedrals”?Like the American race to build skyscrapers in the early 20th century, there was a desire to build ever-higherLike icons, reliquaries and illuminated manuscripts, stained glass had the power to transfix the pilgrim’s gaze and the devotion of the congregationGothic deisgn was aesthetically pleasing, but also practical in terms of cultivating Christian faith through the power of artChristian art of this period, as before, served a didactic function as well as a spiritual oneEmerges as a style in mid-12th century France and within 100 years over 2700 churches in this style have been built in France alone.Townspeople often revolt against some of these building campaigns as they often bear the brunt of taxation and fundraising (compare to Nika Riots & Haiga Sophia)Slides: 1) Bishop Suger & the Abbey Church of Saint-DenisSite of the tomb of S. Denis, early Christian martyr and first bishop of Paris in 5th C; burial place of French kings from 10th – 18th C.Marks transformation to Gothic under Abbot Suger (abbot 1122-1151 AD)Plan retains key elements of Romanesque churchTall thin capitals with foliate capitalsPointed arches and ribbed vaultsLess clear divisions between parts in favour of a unified interior spaceThe Romanesque was built using heavy walls that divided the space; Gothic architecture is more open, with more wall space given over to stained glassSuger – “Light coming though the windows becomes divine light, a revelation of the spirit of God.”Flying buttresses take the weight of roof and vaults off the roof and transfer it to the ground, allowing walls to be used for stained glass windowsSuger is influential, this building is the template for others pursuing “an architecture of space and light”; however, powerful, urban bishops gradually replace more isolated monasteries such as S. Denis as major patrons of art and architecture2) The Cathedral of Notre-Dame, Chartres (exterior & interior & stained glass) [p496-505]Exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. Begun construction in 1163, finished late 13th C.Architectural structure has been adapted to meet the needs of stained glass.Exterior is dominated by heavy flying buttresses, which allowed the architects to increase the window size significantlyThe west end is dominated by two contrasting spires — one, a 349 ft plain pyramid dating from the 1140s, and the other a 377 ft tall early 16th century Flamboyant spire on top of an older tower.Since 12th century an important destination for travelers, attracting large numbers of Christian pilgrims to venerate its famous relic, the Sancta Camisa, the tunic worn by the Virgin Mary at Christ's birthSocio-economic role of the cathedral: functioned as a kind of market place, with different commercial activities centered around the different portals. Textiles were sold around the north transept; meat, vegetables and fuel sellers congregated around the south porch. the area immediately surrounding the cathedral was in effect a free-trade zone governed by the church authorities, who were entitled to the taxes from all commercial activity taking place therea) Exterior & plan [Elements of the Gothic church, p499]Call attention to the following elements:Rose window (Chartres has three, one ded. to Christ, one to Last Judgment, one to Virgin)PortalFlying buttressesRadiating/apsidal chapels (contain relics)Nave & TranseptApsePointed archesRibbed groin vaultsLarger clerestory windows, now in stained glass with “easy to read” large figuresFocus on height, not just on central altar and apse chapelsb) Royal Portal, West Fa?adeThe cathedral has three great facades, each equipped with three portals, opening into the nave from the west and into the transepts from north and south. In each facade the central portal is particularly large and was only used for special ceremonies, while the smaller side portals allowed everyday access for the different communities that used the cathedralFire destroys most of the previous cathedral in 1194, sparing the earlier, Romanesque Royal PortalThe three portals each focus on a different aspect of Christ's role; his earthly incarnation on the right, his second coming on the left and his eternal aspect in the centreAbove the right portal, the lintel is carved in two registers with (lower) the Annunciation, Visitation, Nativity, Annunciation to the Shepherds and (upper) the Presentation in the TempleThe left either the Ascension of Christ or Second Coming of Christ (debated)Central portal depicts the End of Time as described in the Book of Revelation. In the centre of the tympanum is Christ within mandorla, surrounded by the four symbols of the evangelists. The lintel shows the Twelve Apostles while the archivolts show the 24 Elders of the Apocalypse.The jamb figures at St Denis are understood to be representations of the royal lineage of Christ in the Kings and Queens of the Old Testament. This theme of kingship was central to Abbot Suger's ideology. These Old Testament Kings and Queens were not only understood as ancestors of Christ but important precursors for the Kings and Queens of France.The logic of the portal design clearly connects these jamb figures to the figures above, clearly defining the Divine source of Royal power in the image of Christ in Majesty. These jamb figures also serve for us entering the church as intermediaries to the figures above. This thus places us in relationship to this hierarchy of power descending from Christ above to the symbols of earthly kingship below.c) Good Samaritan WindowReading from the bottom up, the Chartres window tells the story of the good Samaritan in the bottom half of the window. The top half shows scenes from the Creation and the Fall.The story is a parable told by Jesus when asked to define "neighbor." The panels illustrate the story in a sequence from bottom left to top right. They tell the story of a man who was traveling from Jerusalem to Jericho, who was robbed and attacked by two thieves. They left him naked, stabbed, and alone on the side of the road, half dead.A priest came by, and crossed to the other side of the road when he saw the man. Next, came a Levite, another religious person, passed by the stranded and hurt man. A third man came along that was a traveler, a man from a different city, a Samaritan. When the Samaritan saw the man he felt compassion for him, he cared for him, bandaged his wounds, gave him his own animal, took him to an inn, and took care of his bills, gave the innkeeper money, and told him that he would pay for any other expenses when he returned. After telling the parable, Jesus, this time, asks the lawyer, who he believes his neighbor to be. The lawyers says, "He who showed mercy." The stained glass panels illustrate the stories lesson, and instruction in the final verse of the Luke 10-25:37 story, as Jesus instructs to "Go and do likewise."Like exterior sculptures on fa?ade, didactic intention. Would you have been able to see the story as a contemporary viewer in the dark interior.Salisbury CathedralSalisbury is unique amongst medieval English cathedrals having been built in just 38 years (1220 - 1258) in a single architectural style, early English Gothic. The tower and spire (Britain’s tallest) were added about 50 years later.The cathedral has been mentioned[11] by the author Ken Follett as one of two models for the fictional Kingsbridge Cathedral in his historical novel, The Pillars of the Earth. It was also used for some external shots in the 2010 miniseries based on Follett's book and was shown as it is today in the final scene.Constable and Turner drawingsShrine of the Three Kings. Relics brought to Cologne in 1164. BIG PILGRAM SITEThe Shrine of the Three Kings (German Dreik?nigsschrein) is a reliquary said to contain the bones of the Biblical Magi, also known as the Three Kings or the Three Wise Men. The shrine is a large gilded and decorated triple sarcophagus placed above and behind the high altar of Cologne Cathedrallargest reliquary in the western world.Construction of the present Cologne Cathedral was begun in 1248 to house these important relics. The cathedral took 632 years to complete and is now the largest Gothic church in northern EuropeThe Shrine of the Three Kings is approximately 43?inches (110?cm) wide, 60?inches (153?cm) high, and 87?inches (220?cm) long. It is shaped like a basilica: two sarcophagi stand next to each other, with the third sarcophagus resting on their roof ridges. The ends are completely covered, so there is no space visible between the sarcophagi. The basic structure is made of wood, with gold and silver overlay decorated with filigree, enamel, and over 1000 jewels and beads. On the sides, images of the prophets decorate the lower part, while images of the apostles and evangelists decorate the upper part. On one end, there are (across the bottom, from left to right) images of the Adoration of the Magi, Mary enthroned with the infant Jesus, and the Baptism of Christ, and above, Christ enthroned at the Last Judgement. The other end shows scenes of the Passion: the scourging of Christ (lower left) and his crucifixion (lower left) with the resurrected Christ above. 3) Sainte-Chapelle, ParisImportant as this is a private royal chapel, so not a pilgrimage site in the same sense as our other examples. The building also functioned as a very large architectural reliquary.Date when building work started is unknown (some time between 1239 and 1243) but the chapel was largely complete at the time of its consecration on the 26th of April 1248Built to house precious relics: Christ's crown of thorns, the Image of Edessa and thirty other relics of Christ in the possession of Louis IX Unlike many devout aristocrats who stole relics, the saintly Louis bought his precious relics of the Passion, purchased from Baldwin II, the Latin emperor at Constantinople, for the exorbitant sum of 135,000 livres. The entire chapel, by contrast, cost 40,000 livres to buildThus the building in Paris, consecrated 26 April 1248, was like a precious reliquary: even the stonework was painted with medallions of saints and martyrs in the quatrefoils of the dado arcade, which was hung with rich textilesit reveals Louis' political and cultural ambition to be the central monarch of western Christendom. Just as the Emperor could pass privately from his palace into the Hagia Sophia in Constantinople, so now Louis could pass directly from his palace into the Sainte-Chapelle.The royal chapel was a prime exemplar of the developing culminating phase of Gothic architectural style called "Rayonnant" that achieved a sense of weightlessness.Queen Blanche of Castile and Louis IX, Moralized BibleNew York, Pierpont Morgan Library, Ms M.240,?Paris, around 1230The sumptuous Bible made for Louis IX has been known for centuries under the name of Biblia rica (”rich Bible”) for its luxury decoration. It was transferred to Toledo during the lifetime of the King (1226–1270) where 8 folios were taken out for unknown reasons in the 16th century and rebound separately in leather. They have been kept in the Pierpont Library in New York since 1906..The overall impression of this Bible manuscript is that of a lavishly decorated picture book, which is accessible even without reading the accompanying text. A type of manuscripts unique to the early 13th century, the so-called Moralized Bibles. A characteristic feature of the Moralized Bibles of the early 13th century resides in the fact that both picture and text are always well balanced. Bible text and Bible commentary, Bible illustration and commentary illustration, appear side by side in a common context. As every text passage is explained by its own commentary, every Bible illustration is complete with a second, explanatory, moralizing illustration. Eight miniatures are thus displayed on each page, executed in bright colours on a gilded ground and all composed into medallions, forming blocks on artistically patterned grounds, and each flanked with four text sections in Latin on either side.The first seven leaves of the manuscript now in New York show and explain 56 selected biblical scenes from the last Book of the Bible, the Revelation according to Saint John. The last folio of the New York fragment (fol. 8r) presents a special picture. the royal couple in the upper half might be presumed to be the commissioners of the Bible, Blanche of Castile and her son Saint Louis. A cleric in the lower half, probably the iconographer of the work, gives the scribe the necessary instructions.This illustration reveals the true accomplishment of the masters of illumination. Each detail in the faces of the figures is discernible, the noble pale complexion of the queen, the juvenile, fresh and red cheeks of the king, even the newly grown hair of the tonsured priest and the beard of the scribe. Their clothing is also depicted in the minutest detail. The imitation of the antique style is accomplished in the design of the clothing, the poses and gestures of the figures, making this dedication picture a classic example of this style of paintingThe expensive decoration of this illustrated Bible leads us to assume that the manuscript was made for a high-ranking personality and might have served as a textbook for the young King Louis. The Windmill PsalterA psalter is a volume containing the Book of Psalms, often with other devotional material bound in as well, such as a liturgical calendar and litany of the Saints. Until the later medieval emergence of the book of hours, psalters were the books most widely owned by wealthy lay persons and were commonly used for learning to read. Many Psalters were richly illuminated and they include some of the most spectacular surviving examples of medieval book art.Initial E, from he first E in Beatus from Pslam One“Beatus vir qui non abiit in consilio impiorum et in via peccatorum non stetit et in cathedra pestilentiae non sedit”(Latin)“Blessed is the man who hath not walked in the counsel of the ungodly, nor stood in the way of sinners, nor sat in the chair of pestilence.” (translation)Solomon: Judgment of Solomon -- Solomon, crowned, sits with his legs crossed and holds sword in his left hand. He points with his right hand to soldier, in mail, wearing cap and scabbard at waist.He grasps infant with his right hand and wields sword in his left hand, beside one of two veiled mothers. One raises her hands toward Solomon, and the other, below, raises her right hand.Above the king is post-windmill; below him is nimbed angel, as personification of wind, swooping down with inscribed scroll from Psalm 1:1, [BE] AT(US) VIR Q(UI) NON ABIIT.Scene with pen flourished background of leaves, some furled, within initial E decorated with four vine-like leaves.Initial E, possibly cipher for the king, Edward I of EnglandIt was customary in manuscript procedure for the scribe to complete the text before the artist started the decoration. In beginning the text on the present second folio, the Morgan scribe wrote near the bottom to allow room above for decoration of the initial.5) Video: Gothic ................
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