Founded in 597 with great Anglo-Saxon influence•Based design on St. Etienne in Caen•Imposition of Norman style•Eastern extension: 1130•September 5 1174: fire at Canterbury allowed rebuilding•

Trend of rebuilding Eastern end to facilitate access to shrine (ex. ambulatory)

Emphasizes saint's power and the role the relics play as a form of pilgrim activity

Sparked a chain of rebuilding in other locations○

After 1185, lots of renewed building happening including new extension and new style (can be for competitive reasons and cult promotion)

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East end ca. 1175 - 1184•

Gervese - heavenly aspect of fire and God because Becket was upset that rebuilding had not happened yet

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Thomas Becket vs. Henry 2nd - highly dramatic political assassination•Bigger windows and new type of vaulting sing tuff (incredibly porous stone)•Enlarged with spacious, fully vaulted choir with trinity chapel (housing a shrine)•Corona of the building holds specific relics of the Bishop's head•Master mason: William of Sens•Had to rebuild outer wall expanding length with interior rebuilt completely•Nave post 1400•

Interior:

Presence of shrine informs the architecture; shrine is now allowed to be at a different place

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Shrine placed directly above crypt•

Northeastern transept:Connected to early Romanesque structure•Low springing of high vault•Wall passage using lintel gives structural support•Hollowing out of wall•Purbeck marble (polished black stone) used as detail to show decorative elements•Dog-tooth in hollow•Crocket capital was featured in England•

Choir:Theatrical stage as move towards shrine•Different type of geometric capitals•Molding wall arches have a more Gothic character•

Trinity chapel:6 to 4 part vault reduction to double capital respond•

Opportunity to open up to lancet windows○

Real hefty type of buttress•

Stained glass = life and miracle of St. Thomas•

Should remind us of Vezelay○

3 part elevation allowing opportunity of stained glass•

Water-holding bas at bottom of respond○

Love elaboration of detail•

Passage at clerestory level•Gallery level with clustered shaft and crocket capital•Deeply set still orders of the arch•Everything is richly molded and carved•

Looking to French○

Necking (neck ring) above and below capital on respond•

Continuity of Romanesque•

After 1185:Growth of national identity in England at this time•Money received goes towards rebuilding•

Early English style (1170 - 1280):Ribbed vault and pointed arches (full-fledges Gothic)•Foliate sculpture and chevron•Shaft work difficult because some buildings may be austere•

The Great Canterbury Fallacy:Always thought to be the beginning of Gothic•Maintained exterior but revamped interior•Mother church of all of England•

Doesn’t make sense for England to wait 30+ years before starting Gothic style○

Archbishop of Canterbury oversees all churches in southern England and very largely influential on other churches

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Norman (Romanesque) conquest○

English were ready to adapt to Northern French style since hierarchy in English churches were French•

Literal transmission of style since people needed to travel to Paris to see King•

Canterbury Cathedral

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Ca. 1150 - 1250•Most northern of all the medieval cathedrals but very connected to the North Sea•Creation of an archdiocese since they have an ecclesiastical reach•Location of the saint shrine was fixed•Because of reach, rebuilding needed to accommodate space and cult•Earlier portion built was transept (building plan was strange)•Archbishop Oystein•Rebuilding the octagon that takes inspiration from Lincoln•Combination of Romanesque, Transitional and Gothic style•Taking on as many visual variety as possible•Satellite connection and Lincoln's reach•Distinct process of selection - picking and choosing the best aspects for the shrine of St. Olaf to elevate building and archbishop himself

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Chapter House:Water leaf capital becomes very typical in Yorkshire•Keel on shaft•

Nidaros Cathedral

ENGLISH Page 2

1154 - 1181•

Large player in politics○

Built by Archbishop Roger•

York is a fairly large ecclesiastical region•

Rivalry expressed architecturally○

York tries to make itself really big bur rebuilding of Canterbury included additional parts (5 - 9 bays)○

York and Canterbury were in great debate with each other•

Panel from Tree of Jess (ancestor of Christ:

Looking over to France (St. Denis)○

Stained glass in Eastern end•

Many material reused in different ways in the constant rebuilding of York•Drapery has Roman precedent/antiquity•

Crypt:

Massive columns with inclusion of engaged shaft on cardinal axis○

Progressive elements are happening•

Evidence of Early Gothic elements well before fire at Canterbury○

Wall has pointed arches•

York Minster*

ENGLISH Page 3

Ca. 1160 - 1170•

Argues that it was similar to York○

Main patron: Archbishop Roger•

Minster church = central building in Anglo-Saxon community•Focus on 3 western bays•3 story elevation: main arcade, triforium and clerestory (not a clear dismissal of Pre-Gothic style)•Nave piers are slimmed down•Grouping of shafts = cluster piers•Quatrefoil plate tracery•Flanking in B-a arrangement•Carefully coursed ribs and vaulting system•

Versus Durham Cathedral:Shows more of a departure of Anglo-Norman style•

Versus Laon Cathedral:

Slenderness and wide spacing of arcade piers○

Openness of nave○

Nave: can see a lot of similarity•

Versus Noyon Cathedral:

Standard of Northern England churches○

Preference of cluster piers•

Bases that sit on top of shafts have no precedent to other English work = Northern French influence•Gouge rolls•

Ripon Minster

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Ca. 1161•Oldest Gothic survival not in influential buildings or location•Evidence of region's receptiveness of French idea but uses different marble (stone that took to high polishing)

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Restored several times•Choir added in 1220•Plan: centralized and round with porch based on Christian tomb•Thicker buttress•

Interior:False triforium = Romanesque style and design•First time uses steeply pointed pitched vault•4 detached shafts•Abacus (stone above capital)•

Has some motif with dark stone○

Beak molding used earlier in Belgium and had some precedent in Northern France•

Visually connected to Laon•Wooden plaster painted to look like masonry•Small volute type capitals to carry vaulting•

Doorway:

Preferred small scaled decorative design○

Uses some of the foliage with deep undercutting influenced from St. Denis but not exactly Gothic (no jamb figures and large sculptures)

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Alternating between rich and plain order (French would've had more iconographic program)•

Temple Church, London

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Begun 1175•Bishop Roger of Worcester•West end and crossing added later but integrate Romanesque style with Gothic•First large scale work in the South West while keeping a lot of Romanesque preferences like surface decoration and articulation

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Interior:Triple arch opening in the triforium reminds us of St. Germer-de-Fly•

Arch going all the way from the bottom without interrupting the capital looks to Gloucester and Malmesbury Abbey (late Romanesque design) but there are still much earlier sources

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Arch molding looks at Notre-Dame de Paris but still looks at regional influence•

Local motif○

Patera - icing-like wall bosses become very popular•

Neo-Antique style columns are adapted and changed according to the environment•Continues to use scallop capitals and a blend of Gothic style foliage•Passage at clerestory (in the style of Anglo-Norman Romanesque)•Chevron still used•

Worcester Cathedral

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Begun 1180•Western end (1175 - 1184) everything else was constructed later•The porch references Worcester and Old Sarum•Transept with aisles was also irregular at the time•In competition with Bath at the time•Towers cut out on the side•West front treated as separate of the rest of the building•

North porch interior:Detached shafts held together with shaft rings•

Interior:Anglo-Saxon elements reside but Gothic overall•Double hollow-technique favored•Revised design in 1190 but still see rolls and hollows•Continuous arch molding creates elongation effect•

Rejection of using columnar responds (looking at French influence)○

Cluster piers (bundle of thing vertical responds)•

Doesn’t have shallow depth; thick walls instead•Soaring arches (14th century)•Looking at banded elevation•

Eastern end:Ca. 1320 - 1340•Extended for more privacy•

Retrochoir:

To enshrine a bishop and give an architectural canopy○

Integrated and has a spatial complexity especially in the vault similar to crypt at Glasgow•

Lady Chapel:Dome-like but has it come down on a drum•A portion of the central part is carried on a barrel vault•

Space for innovation just like window tracery○

Unusual undulating rib vault design•

Star design with bosses•Complex lierne vault•Tierceron more complex as you progress into Lady Chapel to emphasize the importance•

Chapter House:1280-1319•Meeting place of the people who run the building•Purbeck marble still used in the staircase heading to Chapter House•

Choir:Vaults are basically a pointed barrel vault (popular in Romanesque churches)•Plaster over the masonry (tuffa plaster) making it lighter so no need for flying buttresses•

Take lierne vaults and make a pattern with it (hexagons and squares)○

Net vault•

Longitudinal emphasis still here, but also clerestory emphasis•In French, barrel vault would have been considered not innovative from the Romanesque at all•Including Rayonnet type of metal work and Ogee arches•More unifies decorative interior•

Decorated style (1250 - 1350)Could contain what we saw at Westminster, depending on which scholar•

Decoration becomes increasingly stressed upon not only in regional/national aspects but also in personal ways as well (porche s, etc…)○

Gothic architecture becomes essentially more complex•

English continue to add and layer on elements (not huge on visual unity like Rayonnet)•

Complex and varied church ornament○

Ogee arch = curved pointed arch•

Captures fantastic and anti-rational aspect of design during this time○

When used in windows = liberation of design ○

Nodding Ogee = some leaning forward•

Thick walls maintained allowing rich and lively decoration•Because England didn't have decorated portals and flying buttresses, microarchitecture gets applied differently as surface de coration and church furniture•

Wells Cathedral

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Angel Choir:Begun 1256•Intended to accommodate space for shrine of patron saint•Removes apse and ads a 5 bay extension•Increased open work•Uses Purbeck marble•Called Angel choir because 30 angels sculpted inside•481 feet from west all the way to Angel choir•Triforium takes on the Trondheim pier•Clerestory has 4 light windows using throughstone, adding stability and visibility•Rayonnet elements for decorative value•Later architects look to English building including French elements instead of to French itself•

Ca. 1075•1141 - fire/repair•1192 - rebuild choir and eastern transept•Placed on top of a hill like a beacon and would have been even more prominent if the spirals were still there

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Maintained a lot of influence structurally and architecturally○

Became the seat of a bishop that overlooked a lot of regions•

Short apsidal choir with aisles but all that is left is the west front•1185 - devastating earthquake that destructed a lot of the church•1186 - Henry 6th takes charge and appoints Q of Avalon (key patron) until 1200•1256 - eastern end extended again to add Angel Choir•Crossing is one of the largest in Europe (but late 14th century)•

Wanted to improve on it○

Took richest parts of Canterbury and made it part of the norm for the entire structure○

Original hexagonal end inspired by Canterbury (Corona, centrally planned chapel)•

South East transept:Began rebuilding program•

Interest in vaulting develops as a playground○

6 part vault set over a single bay (very uncommon)•

Purbeck marble•

Wall passage at clerestory level ○

Double arcades○

Low springing for vaults, multiple stepping○

Arches are incredibly profiled○

Purbeck used for abacus (from Canterbury with lineage from France)○

Syncopated (superimposed) arcading○

Trefoil○

Wall thickness is maintained•

Colonettes on individual bases○

Fully raised plinth off the bottom instead of on the ground•

In the process of rebuilding there are issues with the design but Lincoln master was still innovative

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Lincoln/Trondheim pier:North Sea linkage•Coursed central column with crockets and 4 detached Purbeck colonettes

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Amazing stiff leaf foliage (take crocket pier and add clover looking leaves)

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East transept and choir extension:

Buttress used to add more decoration and elaboration○

Introduction of microstructure•

Using pointed windows to fill as much space as possible (but not very successful)

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St. Hugh's Choir:Alternation of smaller and larger buttresses•

Solution to a problem in Canterbury that used 1 vault○

Lincoln took this aspect and made it decorative○

5 part vault ribs connect to lancet windows•

Free standing responds, multiplication of lancets•Layering of surfaces and arches would have been seen in spandrel (now sculptures)•

Less concerned with French's logic and symmetry; more about variation○

Pier forms alternation•

Just comes off of haunches in arches at triforium level (think Durham)○

Springing of high vault are quite low•

Thinner responds carrying choir (reminder of Early Gothic French)•

Important English creation○

Ribs are appreciated for the first time for their decorative puposes○

'Crazy vaults' because it has a lot of asymmetry•

Traditional 4 part vault and longitudinal rib/ridge•

Lopsided rhythm○

Takes away serious bay-by-bay division (bay softening) thanks to crazy vaults○

Rib passing down the middle breaks into 3 units but completely sound•

Nave was a direct response of the crazy vaults•Longitudinal axis creates vista•Courbel carrying rib for vault shaft•Fear of notion of plainness ; emphasis on variation•

Westernmost bay:Reverts back to 6 part vault be only because of collapse and needed quick remedy•

North transept:Dean's eye (rose)•Blend of plate and bar tracery including tie bar (integral to design)•A little cross that holds entire window together•Main wall passage under rose adds glazed triforium level (remoi/champenoi)•

Lincoln nave:Around 1200 - 1240 = speculated 2nd mason•Main responds to carry high vault are corbelled out•Springing of vault is still conservative•

Planned like 4 pointed star○

Both are very influential○

More logical or conservative version of St. Hugh's vault•

First one added ever○

Occasionally found afterwards in France, but absolutely loved in England○

Extra decorative rib added to the boss (tierceron)•

Still have a softening of the bay division•Bays are lengthened perhaps to avoid congestion of ribs•Variety in pier form•

Maintaining and adapting Romanesque aspects○

Ribs are incredibly profiled along with bosses•

Façade:

Softening of the points in the window○

Large pointed oversized window using Ogee arch•Nave aisle:Simplification of syncopated arcade•Add extra pointed arches as much as possible•

Lincoln Cathedral*

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Begun 1220, dedicated 1258•Cloister and Chapter House completed by 1266•Crossing tower and spire ca. 1328•

Purely gothic from start to finish○

Only building that didn’t have to contend with past fabric•

Major patron: Richard Poore•Fully masonry vaulted•Basilican/longitudinal plan (verticality = French; horizontality = English)•

Exterior:

Compartmentalizing quality of the interior○

All of the limbs (N, S, E, W) are all very low and long vessels in proportion•

Influence of Wells•No flyers because of thick walls maintained (ones that can be seen were added later on)•

Versus Amiens (also begun 1220):

Height not as important○

77 ft•

Clerestory passage way pr thick walls allow intricate decoration of the arches (arch molding)•Both have 4 part rib vault in single bay•

Requisite feature of all great churches in England○

Polished black limestone•

Interior:Layering of the arches•Tracery cut out for quatrefoils•

Hierarchy of articulation○

8 part shafted pier in the choir compared to 4 part in the nave•

Richard Poore was trying to imitate previous cathedral or continuity of Old Sarum•

Responds don’t even connect to high vault; just corbelled out○

Strange gallery level•

East end:Chapel only on eastern arm in additional transept (nod to Lincoln)•Addition of Lady Chapel at the very end of eastern side•Square instead of semi-circular design was very popular and particular that worked with the Old Sarum liturgy

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Plate tracery reminds us of Bourges at gallery level (awareness of French influence)•

Northwest Porch:

Very detailed and intricate○

Main entrance for Old Sarum liturgy•

Interior of vault is high decorated as well•

West front:"False façade"•No flanking towers maybe because of lack of funds or didn't want anything to distract central tower

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Conquest of Normandy in 1204 by Capetian dynasty and attempted conquest of English•

Results in diverging English/French style○

Rejection or lack of adoption of French style because of resentment•

Most of the rest of Western Europe looked to France for inspiration○

Along with Lincoln Cathedral (North), these 2 buildings were architecturally self-sufficient•

Salisbury Cathedral

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Eastern end begun 1242•Most significant site of St. Mungo•Crypt is not subterranean because of the nature of the site (on top of a hill)•Bondington•More spacious choir and alter•Choir length = nave length•Eastern extension with crypt underneath it, but not underground•1301: King Edward 1st went to Glasgow•

Crypt:Architecture in crypt is highly unique•

Hierarchy of significance○

Favored stiff leaf capitals but sculptured only around 4 piers surrounding shrine•

Cluster pier walls are relatively thin•Pointed arches with rolls and hollows•Tomb maintained powerful draw to pilgrims•High Gothic interior•

Additional ribs connecting between main crossing of vault with sculptured boss at the end of every juncture

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Lierne vault above shrine•

Linked visually with Lincoln, but misses some component•

Glasgow Cathedral

ENGLISH Page 10

Henry VII's Chapel:Ca. 1503 - 1509•Most crazy version of pendant vaults combined with fan vaults•Uses ashlar shell as opposed to tuffa•

Creates a deep shadow○

Dynamic appearance•

Rectilinear surface panelling (sort of like Rayonnet use of metal style)○

Flatter arches○

High vault become fan vault○

Unity as opposed to variety (Decorated)○

Could be the ultimate development of the Rayonnet style○

Less contrast between spaces and concept of design○

As it became centralized in terms of authority, it also became England's repository○

Perpendicular style•

Begin 1245 by King Henry 3rd who died in 1272•Unique among Gothic great churches because this one was paid for by the King (single patron)•Intended to be for in the King in the sense that he was higher than the "common man" and the "clergy"•Plantagenet were equals as opposed to subject of the Capetian (French)•Looks to Reims cathedral, St. Denis and Ste Chapelle to visually align himself as equals to French kings but people saw it as King's attempt to get popular/enhance mystique of royalty

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His successor Edward was much more liked by the English people•Most French looking building from Canterbury•Great height = French; detail = English•Plan: polygonal ambulatory•Westminster remains an anomaly in England maybe because of discontinuity with other English buildings and King's obsession of sacred association. Metal tracery decoration liked however.

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Exterior:

Up-to-date with what's happening in French○

2 tiers of flyers to help carry weight•

Interior:Tie bars used during construction (bracing element) that were left there•Definitely enough space for respond to reach main arcade•Lincoln type vaulting in aisles•Preference and significance of great profiled and layered arched = reason why respond shafts are so thing

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Still thick walls but employs elongated French proportions as a distraction•More English type of vault design•

Visual association more important○

2 windows instead of 4 because looking to Reims as opposed to Amiens which is supposed to be the most updated

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Gallery has 2 unit triforium•

South transept:Reflect openness to Rayonnet and modern tracery•Cut out trefoil head in arches•Looks to Ste Chapelle and metal work (only 5 years prior!) just to add sumptuous detail•Similar gilding and glass as Ste Chapelle•

Chapter House:Glass like at Ste Chapelle and St Denis•

All ribs spring out (octagonal) allowing more visibility than Rayonnet○

Central pier•

Reims was trying to emphasize the prominent of windows○

Use of 4 light arrangement as opposed to 2 that we saw in the nave = more of a unified packet•

Design of vault: see connecting decorative liens (Lincoln)•

Westminster Abbey

ENGLISH Page 11

Rib vault:Major Norman patronage•Angled shaft carries order of rib•Corbel out stones to carry high ribbed vaults•Dogtooth with molded rib (more aesthetic desire as opposed to the French structural)•Cut stone for the ribs•Pointed transverse arches because of timer roof but we know that pointed arches are big in style•

Begun 1093•"proto-Gothic structure" though this is more of a fallacy•a, B, a arrangement of arches in Eastern end = traditional Norman end to building•

More iconographic than anything○

Looking back at Pula Casket, 5th century, showing St. Peter's shrine○

Start to develop rib vault but more as decorative•

Spiraled column favoured as reference to St. Peter as well•Twin tower western front•Piers are 8 feet thick - heavy type of architecture•Loved chevron on piers•Evolution of cushion capital to scallop capital•

Compound with column○

Alternation of supports•

Shrine pilgrimage church•Seat of bishop•Choir becomes inadequate therefore rebuilding happens in 1300•

Some changes but some directly copied (causing alignment problems)○

Modeled after 9 Alter Fountains Abbey•

Wall maintained Romanesque•Detail become more Gothic in structure•Very thick wall that passage is allowed•Cutting out Romanesque thickness with Gothic details on the lower 3rd portion of floor•Tracery can be seen in lancet windows•Cuthbert is now more visible because it's behind the ambulatory•

Durham Cathedral*

ENGLISH Page 12

Ca. 1065 - 1120•

Everything is related to construct and architectural whole; everything has a purpose○

Order + clarity = beauty○

Repetition of elements•

Increasingly governed○

Building mirrors life•

Upper wall built and built back to carry extra weight•Quadrant arches are prototype for plying buttresses•

Maintains consistency of earlier buildings○

Mirrors proportions and stories of Romanesque church•

Normandy still values old ties and style even though it was conquered by France in 1204•

St. Etienne, Caen

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West front and chevet rebuilt ca. 1135 - 1144•Benedictine monastery and shrine of French monarchy•

Authority is revealed○

Mother church of other ecclesiastical provinces•

Layering shapes in logical way○

Rib vaults = structural system○

Looks/is thinner○

Clarity and vertical articulation = compound piers○

Colonettes = detached columns○

Shaft/arch system takes on full "structural envelope"○

Compound pier = thick walls○

Quadripartite (4 webs: transverse and diagonal)○

Unity = pretty○

Gothic regal form and ecclesiastical•

Super important because legal, political and spiritual advisor to Louis 6th○

Helped rebuild royal life when it fell in Carolingian dynasty○

Reinforced ties between France and Rome○

Helped rule France when Louis 7th and soldiers went to fight○

Major patron: Abbott Suger (1122 - 1151)•

Immediately accepted because of splendor and royalty○

Choir added•

Serves as a pattern to great church architecture•Combination of secular and religious•Consecrated in 1140 (building has been formally added to spiritual purpose)•

Ex. 12 columns = 12 Apostles○

Justifies building process for God•

Replace masonry with windows•Originally had twin tower façade with 3 sculptured portals (door) in a, B, a combination•Chapels in tower still looked back at past•Added battlement/cremelations (castle-like details) for decorative purposes but reflecting royalness•

Highly eclectic○

Scene of last Judgement (well-knownz0○

Stepping out/recessing to break up the thickness of the wall○

Figures on wall from Burgundian structure but first time paired this way○

Elaborate central portal•

West front:Lancet windows (tall windows with pointed top)•Bulky but play with compound pier, shaft, arch system•

Continuity with earlier buildings and triumphal archway○

Twin tower façade references St. Etienne, Caen•

Orders of arch = shows thickness of wall•No compound pier•Layering of elements with rib vaults and pointed arches•Heavy masonry with upper chapel•

Stained Glass detail:

Centralized government forming○

Suger = connected with King, France, Capetian dynasty•

Authority and visual emphasis○

Royal burial church too•

Quotation of specific elements (iconography)•

Choir Plan and drawing:

Pilgrims circulate relics without transgressing sacred space○

Eastern end = tradition aim•

Mid 13th century = old transept and nave replaced (anything above triforium)•Experimentation doesn't work because space and function clash•High vault over central space = later•

Quote previous building and foundation with past○

Classical and slender•

Narrow pointed arches with colonettes added attached to high vaulting•Has spatial unity because all same height•Ambulatory and chapels are fully integrated•

Reduction in scale of things○

Light and airy: responds are very thin•

Capital are decorated•Detached shaft made from larger pieces of stone•Narrow, steeply pitched pointed arches•Stone on top of capital adds structural stability•

Chevet exterior:Buttresses are later•Don't know if it was a 2-story/3-story elevation because there were elements constructed later

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Flying buttresses argued as added later because Notre Dame was a sources of when buttresses got added into the style

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Spur walls have structural stability component but can be argued that flying buttresses were introduced to help with the support

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Nave and transept:Begun 1231 (prior to rebuilding, nave was 8th century and transept was 1131)•Reims was also being rebuilt at this time•Not as high because it would have asked for complete destruction of entire sire•It still looked to Amiens for inspiration•

Emphasis on this concept○

Tracery becomes part of composition and decorative elements•

Graduated tracery: build up tracery in shaft and arches to provide sense of unity•

Continuous and vertical that carry high vault by reviving Romanesque forms○

Responds take on fineness•

Shows windows better○

Pitch of vault is extremely shallow•

St Denis

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Ca. 1140 - 1180•Church dedicated to St. Steven•Key centre throughout history of western Europe with arch-bishop having huge power•Central part building changed to follow Early Gothic style•

Following elements in other Parisian designs○

Space was quite wide•

Alteration of columns in nave made from coursed masonry; compound vs. minor•Steep high vault carried by major compound pier•

Rhythmic interest○

Visual unity○

Still very heavy-looking though○

6 part vault spread over 2 bays•

On the borders of Isle de France•Wealthy Roman capital•Preserved from the Romanesque period•Hierarchy: clergy, bishop, arch-bishop•**Note: not all churches were cathedrals•Began the new cathedral and finished 1163•In 1142, it was plain and Romanesque in style•The original design was replaced with a Gothic main vessel (central part)•Initially wasn't supposed to have buttresses on the exterior (was added as an afterthought)•Interior, Nave to East•Massive compound pier alternates with "minor pier"•Minor piers have a double column that is also coursed masonry•Sixpartite vault stretches over 2 bays•Diagonals lead your eye to the east end•Eliminated the gallery and included a triforium (passage in the thickness of the wall)•Flying buttresses carried the thrust of the vaults•

Sens Cathedral

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Ca. 1150 - 1215•Very influential in English Gothic style as well•Grouping of detached shaft•Complexity of arch molding•Dedicated to Virgin Mary•Northeast of Paris, where there were limited numbers of Romanesque churches•5th century foundation•Tried to impose all the great elements of the other churches•Bishop Gautier was to give substance to his status (political figure as well as a ruler)•Work started on the south transept on top of the 8th century building plan•Typically you want eastern end to finish first, but when a building already exists, you can go different ways•Choir was rebuilt twice•Narrower in width of the nave and transepts•Towers are each of the transepts•Even though narrow, as a whole seems broader•Very tall and well lit•Idea that everything grows and radiates from the transept•Takes Gothic plan and changes the expression•False triforium, gallery, 4 level•Choir•Thick buttresses that carry the fliers•Western front•Grandest facade that begun in the 12th century•Towers are wider than they are on the interior•Buttresses create "features" around the doors with gables, and buttresses are given pinnacles•Bulls on the tower represent the bulls that towed rocks, etc.•

Laon Cathedral

FRENCH Page 16

Dado frieze, detail:Ca. 1200 - 1210•

3 vertical grews and a sculptural decoration in between○

Common in ancient temples○

Triglyph and metope style•

Gothic = good○

Using classical antiquity to portray a good/evil concept•

West façade:Ca. 1200 - 1210•Largest and most ambitious twin tower façade to this date•

Portal of Chartres was able to shelter the largest array of sculptures ever○

Less coherent revolution like at Chartres where transepts were developed instead•

Stands at an opposite pole of Amiens' west façade•Intended to have spires and tapers back•

Presence of flanking side aisles allow transepts to have more space and harmonious organization

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3 portal (a, B, a arrangement) but inside has 5 ailes•

South transept façade:Ca. 1258•50 years later than west front•

Cautious reform of Early Gothic design○

Not popular•

More disciplined design (not as random)•

Architecturalization = sculptures are contained in the architectural unit○

Have flanking sculptures with sculptures on tympanum and jamb figures•

Versus St. Denis transept:Squaring the rose but still occupies single story•Replicates tracery as decorative element•Rayonnant rose being divided into two was very popular•

Begun 1163•30m nave; 402 feet long•Size must've demonstrated the status of Paris•Begun by Bishop Maurice DuSulley•In 1182, the alter was consecrated (the eastern end was finished, but building continued)•Clearstory windows were enlarged•Chapels were added•Exterior•Buttresses now have chapels in between (both are additions)•Interior•Not as broadly spaced•Likely copied from St. Denis•Fine, delicate construction•Smooth ashlar vaulting•Use of the pointed arch allows for the apex of the roof to extend even higher above the clearstory•Vaults and galleries were likely abutted by two sets of flyers•Walls are quite thin•Point where flyers met the wall were marked•Everything gets thinner•Triple ribs connect to a respond (starting to go away from everything has to match numerically)•Oculus, 4 story: what we now see as traditional Gothic•Ceiling boss - there to hide unpleasant looks in the ribs•

Notre Dame de Paris

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Begun ca. 1170•Patron was Pierre de Celle•12th century flying buttress system for sure•Same double aisle, ambulatory and full gallery structure•

Massive masonry moving to exterior of building but still chops it up (however, price to pay)○

Oversailing system to add strength and support buttresses•

Opening flyers on buttress = more light for clerestory•

Choppy look○

Breaks up in bay-by-bay division•

Full extent/advantage = hold weight○

Deep buttress piers but secure space and can still fulfill vertical/horizontal components•

Buttress doesn't hit high vault meaning that it's like a bracing system•

Inside:Most accomplished of early Gothic style built on Romanesque transept•

Interlocking of buttresses consisted use of pointed arches with ashlar○

Because proportions are squat, high vaults are shallow as possible•

Subordination of major to minor elements but thickness of wall is not completely gone•

Emphasize verticality○

To make it look tall, expansive masonry above main arcade is removed•

Tripartite in lancet represent Holy Trinity•Roll molding•Things are getting more decorative•

Leading to flying buttresses that allowed clerestory windows to be bigger○

Vaulting structures becoming higher and wider•

Previous styles were more regional but between 1170 onwards, everything became more "French"

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St. Rémi, Reims

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Ca. 1194 - 1220•3 additional apses = more functioning in terns of liturgical needs•Master mason unknown•Status as the centre of the cult of the Virgin Mary heightened after fire of 1194; relic = tunic survived fire

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Received a lot of money to rebuild the church•Past architecture from 1134 remains•Plan: 4-part vault system, 3 elevation•Harmonious combination: took ideas from past and redesigned them in an influential way•Stands for major High Gothic style•

Inside:Incredibly vertical•Rich luminosity of the stained glass; most of the glass is original•Stained glass set remarkably close to the plane of elevation allowing vertical reading of the layers of the church

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Stained glass can be given an iconographic program because it can be seen much more clearly•Elimination of gallery space and then divided and extended to the main arcade and clerestory windows (totaling 40 ft in height)

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Clerestory height is the same as main arcade•Less of a tiered effect like in Laon•Triforium still exists but it functions more formally; it acts as an intermediary between "flat" and "super deep" visual appearance

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Different relationship of the parts on the interior•Cusp oculi is the most decorative aspect and the most significant source of lighting•Major development and change to Gothic architecture•Symbolic value depends on the arrangement of the stained glass windows •Springing is now at the clerestory level making webbing higher so that it doesn't obscure people's view

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By emphasizing the clerestory here, future inventiveness now focuses on window space•New tall proportion of individual bays: simplified compound piers to relate to high vault respond that passes through the capital

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Alternation between octagonal and cylindrical support to emphasize upright bay as opposed to strengthening the nave (4-part vault)

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Underlying roll and hollow•

Exterior:Flying buttresses•3 tiers of fliers springing from wall buttress as opposed to 1 (Early Gothic)•High framework still had similar "latching on" function•Decorative potential can be seen•Corbelling out helps hold up masonry but also shows thickness•

North transept façade:High Gothic elements added on•Unprecedented richness as if to make up for not rebuilding west end•Jamb-figures•Narrow arches flanking the openings allowing emphasis on sculptures•Stained glass and big round glass can be read as one large piece•

The international prestige of France grew•Most of modern day France becomes integrated•

Due to economic boom and growing stability○

Massive size of cathedral•

Heading applied to "classic" Gothic buildings but "High" is a subjective term because it places certain buildings at the peak of Gothic so it denotes lesser extravagance in other styles

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Diversity due to the issue that none of the answers to previous architectural styles were worthy of imitation

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Coherent and comprehensive appearance of Gothic style that includes iconographic structures

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More "add-ons" as opposed to torn down and raised anew•

Nave and buttress:Earliest of 3-tier buttresses at the nave•On the choir, the buttresses are becoming a decorative playground•Influence of metal work on architecture•Structure intended to evoke religious idea•Wide-spread movement of decorating buttresses•

Chartres Cathedral

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Begun ca. 1195•Rival to Chartres in 1210•Quest to build high•

retained more of Early Gothic features like the 6-part vault○

More obvious alternation of nave support○

4 aisles flanking the nave○

Unusual lateral extension of the nave○

Sturdy buttresses○

No transept space but more portals on the side○

Plan:•

Notre-Dame de Paris probably influenced plan at Bourges because the arrangement of buttresses are mirrored

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Influential and important•

Interior:Steeply pitched 6-part vault but by having it cross 2 bays it makes the nave more prominent•

Direct replica on the side aisles above nave so no gallery space○

Aisles have 3 lancets with cusp oculi•

Emphasis on verticality and desire for large windows○

Vaults have fine webbings but more traditional springing•

Choir completed at 1214○

Choir and ambulatory have a more layered cake look•

Exterior:Chapel with pointed roof•

More structurally superior but less copied○

Flyers are on gentle slope•

Fusion of Early and High Gothic features•

Windows are main part of elaboration○

Increasing importance of clerestory•

Flying buttresses used consistently now•New set of proportions: clerestory separated by thin triforium (no more gallery) = height of nave•Narrow bays and emphasis on verticality (shallow pitch of vault and high springing)•

Two high distinct Gothic structures○

Travelling styles; not only Parisian○

Bourges vs. Chartres•

Bourges Cathedral, St. Etienne

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Ca. 1210 - 1290•Where Bishop of Reims was•9th century and Early Gothic fabric still there•Massive High Gothic elements being built at the time•Set out to exceed Chartres in ornamental terms; more sculptural details•Bold development of idea and new interpretation of older elements by Jean Dorber (master mason)•

Nave lengthened by 2 bays and choir shortened by 1○

1 bay projection in transept○

Plan: double apse with flanking choir•

A little more emphasis on horizontal aspect•

Interior:Bases give monumentality and elevates main arcade•Taller than Soissons, narrower than Chartres•Used higher capital and eliminated alternation•

Clerestory:At Chartres, the windows are separated by plate tracery even though they are read as one•At Reims, the windows are a single composition AND a single opening•Uses bar tracery but not to be read as part of the wall rather than segments in the window•The invention of tracery at clerestory level here becomes very influential to subsequent buildings; it reflects a knowledge of new High Gothic idea (modern) and looks at provincial heritage (old)

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Buttress canopies versus Ste. Chapelle exterior:As metal work decorative aspect become popular, they also become part of the architectural structure•

Reims Cathedral

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As metal work decorative aspect become popular, they also become part of the architectural structure

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Dedicated 1212•Choir influenced by Chartres•The master mason worked at Chartres before, showing not only visual similarity•Plan: same as Chartres essentially but single ambulatory instead of double•

Interior:Responds improve in style compared to Chartres•Built by course masonry that is linked to the course masonry on the wall giving the wall a thinner and more elegant treatment also makes it seemingly taller

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Clerestory looks very similar to the ones at Chartres•4-part vault that is very high and steeply pitched•

Exterior:Raised the flying buttresses but are more acutely pitched helping stabilize entire structure and deflect wind pressure

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Soissons Cathedral

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Begun 1220•Master mason: Robert De Luzarches•135 feet•Climax of refinement of High Gothic and the initiation of the Rayonnant style•Elimination of walling in the exterior•Successor of Chartres and founder of Rayonnant•

West front:

Interior arch is smaller than exterior arch to show jamb figures with massive tympanum○

Small portal•

Elevation of nave creates extra space between rose window and portal so sculptures are added on the triforium level

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Interior:Piers are just as thick but much taller•

Lengthening of proportions at clerestory level○

Height of main arcade and nave = height of triforium and clerestory•

Clerestory ha 4 lancets rather than 2•Triforium constructed in tracery method; its richness influenced by Early Gothic structures•Acanthus style and crocket style in gallery level•Outside wall of triforium are windows instead•Rather than having ribs adhered to the wall, the ribs are now being constructed as part of the wall masonry connecting the flyer to provide stability = tas-de-charge

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Systematization of masonry allows for interchangeability during construction and uniform appearance as well as production of stone on-sight

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Vault:A bundle of 3 large shafts instead of 5 - purely Christian innovation•Favored shallow vaults to help emphasize clerestory•Light looking vaults and fragile looking clerestory•

Rayonnant style (ca. 1230 - 1350)

Refinement of all Gothic style○

More long-standing and influential•

More decorative and linear in 1230 - 1240 (renovation)•Elaboration of window and tracery (bars/stones/iron holding glass together)•Linkage of clerestory with triforium/gallery•Creation of royal chapels•Projects shift back to Paris•

Louis 9th appear as the embodiment of medieval Christian kind○

Combination of ruler and dedicated person to faith and Catholicism○

French gains lots of power even outside of France•

Anything coming out of Paris had a royal prestige and connotation attached•

More decorative

Mural passage

Surface decoration

Focus on clerestory and window tracery○

Marks a departure of scale and rationalized space of the High Gothic•

Amiens Cathedral

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Added in ca. 1240 - 1245•Palace located on Île-de-la-Cité, on the same island of Notre-Dame•Entire palace was the unequivocal centre of power and justice but Ste Chapelle is the only thing that remains

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Concentrated bundle of elements and tracery to hold everything in place○

No walling between any of the windows○

Culmination of High Gothic at Chapelle•

Envisioned to be an enormous reliquary and to house the private relics of the King•

Shows authority of secular people○

This small royal chapel influenced great church designs•

Ste Chapelle, Paris Palace

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Auxerre begun 1217•Versus St. Rémi (Early Gothic)

Looks to provincial cathedrals○

Choir had high passage•

Extends to entire space (thin concept)○

Free standing shaft looks like colonette but because of tas-de-charge technique, thin respond was made possible

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Dijon, Notre Dame ca. 1220 - 1230•Chartres looking interior but influenced by St. Rémi•No extra shafts at window•Modifying and making Early Gothic style more sophisticated•

Auxerre/Dijon Cathedral

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