art history: medieval europe the gothic period miss o’ hart€¦ · 02/03/2012 · art history:...

Art History and Appreciation Rosses Community School Miss O’ Hart

Art History: Medieval Europe THE GOTHIC PERIOD Miss O’ Hart 2011-2012

THE GOTHIC PERIOD

The purpose of medieval art was to teach. Everything the faithful needed to know about the truths

of their religion and the lives of the saints, they learned by looking at the windows in gothic

cathedrals and the statues around the church door. The simple peasant and the weary pilgrim of the

time found messages they could understand, but later scholars were able to search the imagery in

order to uncover the deeper and more symbolic meanings they carried.

Background

A sacred science: intellectual ideas and the deepest thoughts of learned theologians were all

expressed through the medium of art. This was however governed by the fixed laws of the Christian

church and its presentation was treated as a sacred science. This could not be broken by any

individual imagination of a sculptor or painter.

The age of the great cathedral

The 13th century was the age of the great cathedra. There silhouettes were visible for miles around,

dwarfing all other buildings in their shadow and drawing numerous visitors. These visitors must

surely have been impressed (just as we are today) with the sculptured architecture bringing life to

religious scenes (such as the coronation of the Virgin) or the rows of stone figures painted in full

colour (as was the practice). Progressing inside the building, their every turn would have been

marked by images in stone or wood and brilliantly coloured glass. Small wonder if they thought

themselves in heaven.

THE BEGINNING OF GOTHIC

In the mid-12th century, France was no more than a small kingdom with the royal city of Paris at its

centre. At the Benedictine Abbey of St Denis, Abbot Suger had a dream of restoring his abbey to its

former glory. The old church was completely dilapidated, but Suger set about building a new façade

with two towers and three doors before moving to the other end to build a new choir. The result

was a major event in the history of architecture. Gothic was born.

Architecture of light

Suger had a very close association with the king of France and a deep love of art, but his work had a

profound philosophical basis. For him, art and beauty were ways of honouring God and he argued

that one could only come to understand absolute beauty, which is god, through the effect of

beautiful things on our senses. He was fascinated by the religious implications of light and his new

concept was for ‘an architecture of light’.

The ‘creator of Gothic’

This was the beginning of far-reaching developments in architecture, sculpture and stained glass. At

St Denis, Abbot Suger took elements of Romanesque architecture-like cross-ribbed vault and the

pointed arch-and united them. These had been used in Burgundy and Normandy, but by bringing the

features together in a completely new way, he became, in effect, the ‘creator of Gothic’.



The French style

Sugers concept of sacred architecture soon spread around the Île-de-France (the area around Paris)

and several great gothic cathedrals were created there in a very short time. They style later spread

to other parts of France and as Gothic architecture represented the latest in building technology, in

time other countries in Europe adopted the ‘French style’.

CHARACTERISTICS OF GOTHIC ARCHITECTURE IN COMPARISON TO ROMANESQUE

Crosswise or rib vaulting was a far more effective system of supporting stone roofs than

Romanesque.

The pointed arch was stronger than the rounded Romanesque arch.

Pressure from the vaults was now concentrated only in small areas at the end of the ribs,

eliminated the problem of outward thrust that had so troubled Romanesque builders.

Pressure was easily counteracted by supporting the walls with buttress and external arches

on the higher parts of the wall, called flying buttresses.

Buildings were of enormous heights as thinner walls replaced the thick walls of

Romanesque architecture.

Rib Vaulting:

Rib vaulting (Crosswise vaulting) was a far

more effective system of supporting stone

roofs than either barrel or groin vaulting.

Pointed arches:

Pointed arches were stronger than the

rounded Romanesque



Buttresses and Flying buttresses

Buttresses and external arches on the higher parts of the wall, called flying buttresses, supported

the walls and eliminated the problem of outward thrust.

Slender pillars were sufficient to support the vaulting system as outward thrust was

eliminated. (Pressure from the vaults was now concentrated only in small areas at the end of

the ribs).

Thinner walls allowed for buildings of much greater height and elegance than the

Romanesque style. Solid walls were no longer a structural part of the building, so it instead

became a skeletal structure supported by flying buttresses and filled with coloured glass.

Large windows let in light, in contrast to the dark Romanesque interiors.

Tracery-ornamental stonework was used to support the glass in the round and tall lancet

windows, giving them a light and delicate appearance. (the word may have come from the

tracing floors on which the complex patterns of gothic windows were laid out)

Space for stained glass.

A revolution in these above building techniques allowed for more window space. These were filled

with stained glass, a technique learned from the East, and so interiors of previously unknown heights

were also far brighter and more elegant. Slender pillars divided sections of walls which were at four

levels, with the tall lancet windows at the top of a gallery about the side aisle at the lower level of

the nave. This light was seen as god’s power on high as it filtered through the many stained glass

windows.



These splendid places of worship were for the faithful, rich and poor alike and small wonder that the

cathedral in all its glory must have seemed like heaven itself when you consider the living conditions

of many during the Middle Ages who lived out the winter months of darkness in fear of war, fire and

disease. Even today as the sun streams through the magnificent stained glass of Chartres cathedral,

south-west of Paris, the atmosphere of mystery created by the transparent mosaic of colour on the

walls and a carpet of rubies and gems on the floor is just as impressive.

GOTHIC CATHEDRALS

Chartres Cathedral-Our Lady of Chartres (13th Century)

Chartres Cathedral or Notre-Dame de Chartres is about 50 miles from Paris. It is considered to be

one of the finest examples of the high Gothic style and is one of the greatest of all French gothic

cathedrals. It is visible from miles away.

It is dedicated to Our Lady and regarded as the ‘Seat of the Virgin Mary of Earth’, Chartres was a

major pilgrimage site and its most sacred relic was the Sancta Camisia, the gown worn by the Virgin

during childbirth. In 1134 and 1194 the cathedral was almost completely destroyed by fire. The relic

was found amongst the smouldering remains and this was seen as a divine miracle. A new church

was immediately begun on the remains of the old one. The resulting building was the largest church

ever attempted and is today the best preserved with more of its original stained glass intact than any

other medieval cathedral.

The Building

Chartres Cathedral took over 300 years to

build and over the years the style of

building changed. Traces of the original

Romanesque structure can be seen on the

west façade and the north tower was built

nearly 300 years after the south tower was

finished in the flamboyant late Gothic style.



Structure

Chartres was one of the first large buildings to utilise

the full potential of flying buttresses. There are three

levels of them along the nave. At the first level they

take the form of a simple arch; the next level is

connected by small columns arranges like spokes of a

wheel; a third layer of arches stretch from the top of

the buttresses to just below the gutter of the upper

nave. Inside, the cathedral is built in the shape of a

cross with a central aisle and transepts forming the

arms of the cross. The effect upon entering the

cathedral is one of light and space. The slender pillars

soar to join the crossed rib vaulting on the roof, the

sheer height of the building adding to the beautiful

lighting from the many stained glass windows. Three

large rose windows (so called because of their shape)

adorn the cathedral, one on each transept, another

over the west door facing the altar.



This is one of the first examples of a Gothic doorway in France. The triangular tympanums have

sculptures of the Virgin Mary and the Ascension of Christ on either side. The centre is devoted to

Christ in Majesty. Statues of kings and queens from the Old Testament stand around the portals. The

style of the figures on the sides is inferior to those in the centre, suggesting that the master carved

the centre himself and the assistant the sides.

Stories in the Glass and Sculpture

The three rose windows as well as the tall

pointed lancet windows which surrounded the

church tell the story of Mary, Jesus and the

saints, as does the sculpture around the three

doorways. The west front, known as the Royal

Portal, is the oldest of these and is so called

because of the solemn line of column status

that stand on either side Tall and linear, they

are almost part of the architecture, but their

costume and drapery is treated in a decorative

manner, All life is concentrated in the

expressions on the faces of theses strange kings

and queens whose identity is not fully known,

but they appear to represent men and women

from the Old Testament.



NOTRE DAME, PARIS (13th Century)

RHEIMS CATHEDRAL

Notre Dame Cathedral was completed in 1250

when Paris was developing as the main centre of

political power and commerce. No expense was

spared in creating a cathedral with impressive

new architectural features that would surpass

those of all the towns nearby and the

construction was supported and encouraged by

King Louis VII himself.

The aim of Paris builders was to push the limits

of the new style beyond anything yet attempted.

The breadth of the vaults as well as the height at

Notre Dame was greater than anything seen thus

far. Another important innovation was the

combination of triangular ribs with subtle

transverse arches. The result of this technique

was an impressively wide interior, which can be

seen from the doorway through to the altar

without interruption from pillars and is as

impressive today ait was then.

Built in 1210 after a fire destroyed the original,

Rheims cathedral combined man of the finest gothic

architectural features: flying buttresses, very thin

walls and tracery windows.

The cathedral was badly damaged during WW1 but

much of its impressive variety of gothic sculpture

survived and the lines of the splendid west façade

soar upwards representing the union between

Heaven and Earth. The façade has been greatly

restored but the statues on the sides of the

doorways are original.

There were to have been seven towers but only two

on the western façade were completed and the

spires for these were never completed. It is famous

for its association with royalty and all the kings of

France from the 9th century to the 19th were

crowned here.



GOTHIC SCULPTURE

One of the most important developments during the 12th century was a change in the ordinary

person’s attitude to God. A new humanism had come into religious discussion in the universities and

these great new opinions filtered down to the level of ordinary people. breaking through the layers

of fear and ignorance. Gradually it banished the vivid but terrifying vision of death and its aftermath

that had so long obsessed the medieval mind.

Transition from the Romanesque

Hope was the new message, The Church now preached salvation rather than damnation and

nowhere are these changes seen more clearly than in the imagery and art of the new gothic

cathedrals. In a typical Romanesque scene, like that found in Saint-Lazare Autun an impassive God

sits in judgment with the blessed to his right and the damned to his left who deserve nothing better

than eternal torment with devils in Hell.

These grotesque scenes are in complete contrast to the new gothic imagery. Mary the mother of

God occupies a very prominent position and her story appears in many ways on most of the

cathedrals. The emphasis is also more on Christ the saviour of mankind. Final judgement scenes have

not disappeared, but they tend to be far less obvious. They still show an awesome and all-powerful

God, but hell is smaller and far less gruesome and the inclusion of the Virgin Mary and St John with

Christ offers further hope.

The Saints

Numerous images of saints are found all over in gothic sculpture and stained glass. Medieval people

loved their saints and prayed in times of sickness or distress for them to intercede with god for

them. Stories of the Saints and their miracles very familiar to the average person so these were easy

to ‘read’. Traditionally, saints were identified by their symbols, but as the artists of the 13th century

became more skilled, they depended less on symbols to show the sanctity of the saints and

concentrated instead on facial expressions.

Column Statues

Column statues of Kings and Queens were a feature of early gothic imagery. These were originally

found around the doorway of the facade at St Denis and may have been associated with the French

royal family. These were rapidly followed by the west front of Chartres Cathedral and became

common on cathedrals throughout the Ile de France. As Gothic sculpture developed, these groups of

carved figures on doorways became more freestanding and adopted more naturalistic poses as they

relied less on the supporting architecture. Expressions also tended towards realism, with some even

smiling, like those found at Rheims.



EXAMPLES OF GOTHIC SCULPTURE

Chartres Cathedral

Chartres Cathedral is a landmark in the history of sculpture. It had 200 statues featured in 41

different scenes.

The Royal Portal (west façade) (12th Century-early Gothic)

They vary in height, but all the heads are the same level and folds in the drapery tend to emphasise

their tall, linear quality. Some of the patterns are similar to that used in the sculpture at Autun and

Vezelay, but they are much more refined, as is evident in there serene and dignified facial

expressions and more accomplished body proportions. Great delight appears to have taking in

portraying the finest detail, even in the women’s clothing with the plaits, long flowing sleeves and

girdles. They are all carved with great attention and detail. Differences in quality can be seen

between the figures of the three doors, but this is because the master sculptor is credited with those

on the central doorway, while assistants may be responsible for the work on the doors to the right

and left.

The Royal Portal was built

between 1145-1555. Originally it

featured 24 statures but only 19

have survived. The theme is

salvation. The tympanum over

the centre door presents a

peaceful and calm vision of

eternity with Christ in Majesty

welcoming the visitor. The scenes

on either side are that of the

Virgin Mary and the Ascension of

Christ.

The doorway gets its name from the

so-called kings and queens on either

side. These tall column statues are

related in style to the Romanesque,

but they also show a clear

advancement in that they are no

longer a minor addition to a building

but an important part of the overall

design of the doorway, blending

with and enhancing the

architecture.



Column statues on the Royal Portal. Kings and Queens

The North Portal (High Gothic, 13th Century)

The north portal is dedicated to the Virgin

Mary. The figure of St Anne holding her baby

daughter, Mary, stands in the central trumeau

and in the central tympanum above she is

crowned Queen of Heaven. She is the link

between the Old and New Testaments.

Ranged along both sides of the doorways are

the prophets who foretold the coming of

Christ, standing beside the apostles.



The whole of the South Portal is

dedicated to the glory of Jesus

Christ. His church and apostles

are on either side of him in the

central doorway.

The Teacher

Jesus stands on the central

trumeau with book in hand, the

other lifted in blessing and

behind his head is his defining

symbol-the cruciform halo. His

feet rest on a lion and a dragon,

but he is very far from the

Romanesque judge of sinners.

This is a loving Christ-the teacher

of mankind or the shepherd who

laid down his life for his flock.

The gentle expression on the

finely carved face portrays that

image.

Christ’s Apostles: On either side of the door on beautiful twisted

columns, the 12 apostles stand barefoot. St. Peter, as head of the

Church, stands on Christ’s right and is recognisable by his curly

hair and beard. He is carrying a key-the symbol of his power on

earth. Nearby, St. Andrew has a cross and St John, the beardless

youth, carries a book. The other apostles have no special symbol;

instead they carry the instruments of their deaths and beneath

them are the crowned figures of the Roman Empire who

persecuted them.

The South Portal (high Gothic, 13th



St Peter (South Portal)

Last Judgment: in the tympanum about the central doorway a Last Judgement scene is presented,

according to the gospel of St Matthew. The familiar images of Michael weighing the souls with devils

fighting for the souls are all present. Even though the damned are led to eternal fire by these

demons, once again this image is far less grotesque than earlier representation on Romanesque

churches.

RHEIMS CATHEDRAL

Sculpture: Devotion to Mary was very popular in the 13th century. This was the era of chivalry, with

its ideals and virtues of honour and courtly love. The knightly code of behaviour included great

respect for women and the honour accorded Mary was highest of all. Many cathedrals were

dedicated to her and at Rheims she is seen in the gable above the central doorway with her son,

who is crowing her Queen of Heaven. She appears again on the central pier of the main doorway,

welcoming the faithful. Among the surrounding statues are some representing the Visitation and the

Annunciation and show the variety of styles found at the cathedral.

The Annunciation and Visitation: The figures of Mary and Elizabeth are early 13th century and are

clearly inspired by Roman influence. The bodies come alive, no longer resting squarely on two feet,

the folds move and the faces have life-like expressions. The Virgin of the Annunciation is later, with

gentler movement and quieter folds in her gown. The figure of the Angel Gabriel is of the last school

and has a delicate smiling face, a graceful movement and an elegantly draped body.



The smiling angle has become the

emblem of the city. Humanism in

religious thinking found its way into

art, making the imagery used in gothic

sculptor far gentler than the terrifying

visions of the Romanesque era.

art history: medieval europe the gothic period miss o’ hart€¦ · 02/03/2012 · art history:...

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