1. English Gothic
1.1. No 'British Gothic'
1.2. Roche Abbey, South Yorkshire 1247
1.2.1. Transitional Style
1.2.1.1. Pointed arches/windows (Gothic)
1.2.1.2. Round arches/windows (Romanesque)
1.3. Cantebury Cathedral, 1175 - 1185
1.3.1. By William of Sens
1.3.2. Choir very similar to that of Sens Cathedral
1.4. Westminster Abbey, begun 1245
1.4.1. Mostly built 1245 - 1272
1.4.2. The most French of English cathedrals
1.4.3. Nave
1.4.4. Chapter House, c. 1246
1.4.4.1. Lots of glass, minimum masonry
1.5. Salisbury Cathedral, 1220 - 1258
1.5.1. Early English/ 'First Pointed'
1.5.2. Cloister
1.5.3. Specific chapel for the Virgin
1.5.4. Purbeck marble (polished limestone)
1.5.5. Simple lancet windows
1.5.6. Quadpartite vaulting
1.6. Lincoln Cathedral, early 13th Century
1.6.1. Tieceron vaulting
1.6.2. Two sets of transepts
1.6.3. Extra chapel
1.6.4. Small cloisters
1.6.5. High Gothic
1.6.6. First Phase of English Decorated: Geometric
1.6.6.1. Geometrical Tracery
1.7. Elgin Cathedral, 13th Century
1.7.1. Borrowed Lincoln's order of surface
1.7.2. Only cathedral with two towers
1.8. More complex arch sections than the French
1.9. More complex plans than the French
1.9.1. Plan of Notre Dame de Paris
1.9.2. Plan of Lincoln church
1.10. Ely Cathedral c. 1320 - 1350
1.10.1. Second phase of English Decorative Gothic: Curvolinear
1.10.2. Very complex
1.10.3. Every statue is headless thanks to the Reformation
1.11. Gloucester Cathedral 1340 - 1350
1.11.1. Final stage of English Decorative: Perpendicular
1.11.2. Rising verticles
1.11.3. Lierne vaulting
1.11.3.1. Developed into fan vaulting in other parts of the cathedral, like at King's College, Cambridge, 1516
1.12. Henry VII chapel, Westminster Abbey, 1503 - 1509
2. High Middle Ages architecure
2.1. France 12th to early 16th Century
2.1.1. As it goes on, it becomes more flamboyant and loses some of it's coherence and logical structure.
2.1.2. French Gothic is very streamlined
2.1.3. French Gothic is very streamlined
2.2. Name = derogatory
2.3. Pointed arch
2.4. Flying buttreses
2.4.1. Uniformed vaulting of any plan shape
2.4.2. Increased height
2.4.3. Elimination of non-load bearing walls
2.5. Rib vaulting
2.6. Spanish and Portuguese Gothic: Very intricate and decorative.
2.6.1. Need for smaller windows
2.7. Italian Gothic = simpler (with the exception of Milan)
2.7.1. Need for smaller windows
2.8. Germany and Central Europe: Very inventive, though self-conscious late Gothic.
2.9. Three Stages
2.9.1. Early Gothic: 1140 - 1200
2.9.2. High Gothic: 1200 - 1260
2.9.3. Rayonnant: 1260 - 1300
3. Royal Abbey of St Denis, Paris (Suger's Rebuilding: 1135 - 1144)
3.1. Ambulatory 1137 - 1140
3.2. First Gothic building
3.2.1. Ribbed vaulting means that the new structure forms new, innovate shapes which were previously impossible.
3.3. Abbot Suger
3.4. St. Denis --> Pseudo Dionysius
3.4.1. Christian Neo-Platonism
3.4.1.1. Matter = Bad
3.4.1.2. Pure Form = Good
3.4.2. St John's Gospel: God is light
3.4.2.1. Choir: Huge stained glass windows
3.5. 'Heavenly Jerusalem'
3.6. Jesse Window
3.6.1. Part of the new front and choir.
3.6.2. Mystical significance of light.
3.6.2.1. Adding a more holy light
3.6.2.2. Huge contrast to Romanesque churches
3.7. Symbols
3.7.1. Peter and Paul are the pillars of the church
3.7.2. 12 inner columns of the chevet: with disciples/apostles
3.7.3. Outer columns =minor prophets
3.7.4. Rose Window
3.7.5. Trinity of doors
4. Chatres Cathedral, 1194 - 1220
4.1. Neoplatonist
4.2. Medieval interest in geometry and proportion
4.3. First of the great High Gothic cathedrals
4.4. Triple portal
4.5. Nave elevation
4.6. Original stained glass
5. Light
5.1. St Augustine
5.1.1. Matter = bad
5.1.2. Ideal form = good
5.1.3. God is beyond our imagination
5.1.4. God = light
6. Sens Cathedral, begun 1140s
6.1. Continuous shaft with alternate rhythms
7. Notre Dame de Paris, 1163 - 1250
7.1. Trying to maximize the light
7.2. Random section in the East = different
8. Bourges Cathedral, 1190 - 1275
8.1. Incredibly streamlined
8.2. Very high arcade
8.3. 144 ft high
9. Amiens Cathedral, 1270
9.1. Nave
10. Beauvais Cathedral, begun 1225
11. La Sainte-Chapelle, 1243 - 1248
11.1. Rayonnant style
11.2. Very tall
11.3. Small interior
11.4. Huge reliquarium
11.5. Very little masonry
11.6. Lots of glass
11.7. Peak of Gothic achieved
12. Vendôme, La Trinité, 1350
12.1. Flamboyant Gothic
12.2. Very decorative masonry
12.3. Flamme
13. Abbeville, St. Gilles
14. Batalha, Portugal, 1386 - 1517
14.1. Very ornamented
14.2. Encrusted
14.3. Complex
14.4. Small windows
15. Burgos Cathedral, begun 1221
16. Majorca, Palma Cathedral, begun 1229
16.1. Built on the site of a Mosque
16.2. Soaring to heaven
16.3. Geometric patterns on rose window
17. Florence Cathedral, begun 1296
17.1. Few windows
18. Milan Cathedral, 1380s
18.1. Most gothic of Italian churches
18.2. Had French and German masons
19. St Annen, Annaberg, Germanny, begun 1499
19.1. Very light
19.2. No flying buttresses
19.3. Complex vaulting
20. Inglostadt, Liebfrauenmunder, from 1425
20.1. Tablet shaped
20.2. Nothing stops the vaults
20.3. Exposed vaults in the side chapels
21. Benedikt Reid/Rejt 1450 - 1531, Prague Castle
21.1. Vladislaw Hall 1493 - 1502
22. Gothic in Scotland
22.1. Holyrood Abbey, 1128
22.1.1. New religious orders from France
22.1.2. Augustinian
22.2. St Micheal's, Linlithgow
22.2.1. French flamboyant design in the South Transept
22.3. Glasgow Cathedral (early 13th Century)
22.3.1. Lower story for tomb
22.3.2. Simple lancet windows
22.3.3. Wooden vaults
22.4. Melrose Abbey, post 1385
22.4.1. Paid by Richard II as an apology for sacking
22.4.2. By John Morow
22.4.2.1. Closer to French flamboyant work
22.4.2.2. Worked everywhere in Scotland
22.4.2.3. Scotland fought for France in wars
23. Gothic Art, by Michael Camille
23.1. Gothic as 'a new vision of space'
23.2. Cathedral architecgture is showing how the church could control and manpulate space on earth
23.3. Gothic as a break with tradition: originally called 'opus francigenum' (French Style/New Style'
23.4. Intricate exteriors to entice people to enter: 'advertisments in stone'
23.5. Focus was usually the West Front
23.6. Like the Heavenly Jerusalem described in teh vision of the Apoocalypse in Revelation 21
23.6.1. 'walls great and high'
23.6.2. 'pure gold, like unto glass' --> Camille: 'crystaline appearance'
23.7. Huge contrast to small, dark homes of most people: showing the church's power and wealth, awed them.
23.7.1. Not everyone liked them. Peter the Chanter (d. 1117), canon at Notre Dame de Paris critized this excess as being like the Tower of Babel.
23.8. England: Cathedrals more isolated from civilization e.g. Salisbury
23.8.1. More urban in France and Germany
23.9. Wells Cathdral, 1230 - 1250
23.9.1. Unlike French Gothic
23.9.2. Focus on depth of portals
23.9.3. On screen-like canopies with 257 statues
23.10. 'Gothic architecture has to be seen as part of this ever-changing spatial performance of the liturgy'
23.11. Cult of the Virgin = one of the greatest incentives in cathedral building
23.12. Rheims Cathedral
23.12.1. sculptural elements of the East end show that this is the most sacred and important part of the church
23.13. 13th Century Gothic we see huge buildings
23.13.1. St. Urbain, Troyes, begun 1260
23.13.1.1. small cathedral
23.13.1.2. exterior is composed so that all the elements seem deatched
23.13.1.3. Camille: shows imagination, 'capacity to build castles in the air'
23.13.1.4. so light: no glass in certain parts of the tracery; just air
23.13.1.5. Rayonnant Gothic 1260 - 1300
23.14. Gothic architecture was planned as they went along, on site
23.15. Sculptures were very often endorsed in a canopy (3D version of the pointed arch)
23.15.1. Connatations of security
23.15.2. The frame was the locus: 'allowed the viewers to position themselves in relation to the representation within' Figure is elevated to a divine level.
23.15.3. Only gargoyles were ever without canopies: their exterior isolation, draine pipes: an 'ungodly ejection from the church'.
23.15.4. Canopies, alongisde crocketed finials and sharply pointed pinnacles were the image of Holy Jerusalem.
23.16. 'Gothic was the creation of a complete space, a total enviornment'.
23.17. Suger: "Some strange region of the universe which neither exists entirely in the slime of the earth non entirely in th epurity of heaven."
23.18. Light was very important: removal of gallery + flying buttresses = larger clerestory windows
23.18.1. Chartres is very gloomy; filtered, jewel-colored light - 'a vision of that other would "garnished with all manner of precious stones"' (Revelation 21)
23.18.2. Rose windows = Virgin Mary
23.19. Latin: many words for light
23.19.1. lumen = light multiplied spacially
23.19.2. lux = light from luminous bodies
23.19.3. splendour = reflected light
23.19.4. lux nova = Suger's choir windows
23.20. Gothic art = metaphysics of light
23.20.1. Pseudo-Dionysius - 5th Century
23.20.1.1. revival during the 12th Century
23.20.1.2. Suger was eager to link with St Denis
23.20.1.3. Christian mystic: God = an "incomprehensible and inaccessible light"
23.20.2. Light quality changed over the years
23.20.2.1. Chartres is very dark and mysterious
23.20.2.2. "This latter glass makes the walls of the church seem not so much garnished with a mosaic of precious stones as disappearing altogether in diaphanous radiance."
23.20.2.3. 13th Century allowed for more light to enter
23.20.2.4. People becoming more partial to materials such as crystals and diamonds, meanwhile, perspective philosophers were looking at refraction of light through the eye
23.20.3. 1300 - silver staining in stained glass develops
23.20.3.1. white = important
23.20.4. Giotto: instead of transporting viewers to a heavenly realm, he's bringing them down to earth
23.20.4.1. Fresco: Italian's main way of defining space - Arena Chapel = coherent, painted narrative
23.20.5. Canterbury Cathedral
23.20.5.1. Pilgrims would literally move down from the dark of the crypts in to the light of the Trinity chapel (1220) where the relics of Thomas Beckett were displayed: v. bright with stained glass windows, each one representing his miracles.'
23.20.5.1.1. 'New spatial experience'
23.20.6. Louis IX: Sainte-Chapelle
23.20.6.1. Essentially a huge reliquarium
23.20.6.2. So much light through windows reflecting off of gilded statues
23.20.6.3. 'chromatic brilliance of Gothic' lost from most buildings due to austerity of later century's tastes
23.20.6.4. Like being ain a huge gemstone