The Later Middle Ages Iii Early and High Gothic Chartres Art

Interior of Leon Cathedral Kingdom of spain.
A treasure trove of medieval art of the
belatedly 13th century. Built during the
period 1250-1550, it exemplifies
Castilian Gothic compages of the
1250s. Note the ribbed vaulting and
pointed arches.

Terminology
For a guide, encounter:
Architecture Glossary.

Introduction: The Gothic Cathedral

At that place is no better evidence of the quality of Christian art during the Centre Ages, than the Gothic cathedral. The Gothic architectural style offset appeared at Saint-Denis, virtually Paris, in 1140, and within a century had revolutionized cathedral design throughout Western Europe. The old mode of Romanesque architecture, with its rounded ceilings, huge thick walls, small windows and dim interiors had been replaced by soaring Gothic arches, sparse walls, and huge stained glass windows, which flooded the interiors with light. By modifying the arrangement of ceiling vaulting and employing flying buttresses to change how weight was transferred from the peak downwards, Gothic architects managed to radically transform the interior and make it a far greater visual feel. Everything was taller and more fragile-looking, and colonnettes often reached from the floor to the roof, pulling the center upwardly with dramatic force. Outside, a mass of stone sculpture added decoration as well every bit Biblical narrative, with statues of Saints on the walls, and complex reliefs around the portals and doors. Add mosaics, carved altarpieces, fonts and pulpits, brilliant stained glass art, exquisite Gothic illuminated manuscripts and precious ecclesiastical metalwork, and y'all tin can understand why Gothic cathedrals amounted to some of the greatest works of art ever made. Outstanding examples of these structures include: Notre-Dame Cathedral, Paris (1163-1345), Chartres Cathedral (1194-1250) and Cologne Cathedral (1248-1880).

Characteristics of Gothic Architecture

Gothic art evolved out of Romanesque art and lasted from the mid-12th century upwardly to the tardily 16th century in some areas of Frg. Architecture was the principal fine art grade of the Gothic, and the main structural characteristics of Gothic architectural design stemmed from the efforts of medieval masons to solve the problems associated with supporting heavy masonry ceiling vaults (arched roofs) over wide spans. The problem arose because the stonework of the traditional biconvex roof exerted a tremendous downward and outward pressure against the walls upon which it rested, which oftentimes caused a plummet. Up to and including the preceding menses of Romanesque architecture (c.800-1150), edifice designers believed that vertical supporting walls had to be made extremely thick and heavy in order to counteract and blot the vault's down and outward force per unit area. But Gothic designers solved this problem around 1120 with several vivid innovations.

Ribbed Vaulting: Flight Buttresses: Pointed Arch

Outset and virtually important, they developed a ribbed vault, made up of intersecting barrel vaults, whose rock ribs supported a vaulted ceiling of thin stone panels. Not only did this new organization significantly reduce the weight (and thus the outward thrust) of the ceiling vault, only also the vault'southward weight was now transmitted along a distinct stone rib, rather than along a continuous wall edge, and could exist channelled from the rib to other supports, such as vertical piers or flying buttresses, which eliminated the need for solid, thick walls. Furthermore, Gothic architects replaced the round arches of the barrel vault with pointed arches which distributed the vault's weight in a more vertical direction.

To put it simply, until Gothic builders revolutionized building pattern, the weight of the roof (vault) brutal entirely on the supporting walls. Every bit a upshot, the heavier the roof or the higher the roof, the more than downward and outward pressure on the walls and the thicker they had to exist to stay upright. A Romanesque cathedral, for example, had massively thick continuous walls which took up huge amounts of infinite and created modest, dim interiors. In contrast, Gothic architects channelled the weight of the roof forth the ribs of the ceiling, across the walls to a flight buttress (a semi-arch), and then down vertical supports (piers) to the ground. In effect, the roof no longer depended on the walls for support. As a consequence the walls of a Gothic cathedral could be built a lot higher (which fabricated the building even more awesome), they could be a lot thinner (which created more interior infinite); they could comprise more than windows (which led to brighter interiors and, where stained glass fine art was used, more Biblical fine art for the congregation).

All this led to the emergence of a completely new type of cathedral interior, whose tall, thin walls gave the impression of soaring verticality, enhanced by multi-coloured light flooding through huge expanses of stained glass. Its outside was more circuitous than before, with lines of vertical piers connected to the upper walls by flying buttresses, and large rose windows. As the style evolved, decorative art tended to supervene upon structural matters. Thus decorative stonework known as tracery was added, along with a rich assortment of other decorative features, including lofty porticos, pinnacles and spires.

Principal Masons
Medieval masons were highly skilled craftsmen and their trade was virtually oft used in the building of castles, churches and cathedrals. A Master Mason was someone who likewise had accuse over carpenters, glaziers and other works (and piece of work teams). Indeed, all skilled and unskilled workers on a building site were under the supervision of the Master Mason. He himself was based in what was known as the Stonemason's Lodge. All major building sites would have a Mason's Lodge, from which all the work on the site was organised.

History and Development of Gothic Architecture

Iii phases of Gothic architectural design can be distinguished: Early, High, and Late Gothic.

Early Gothic (1120-1200)

The fusion of all the above mentioned structural elements into a coherent style of architecture occurred commencement in the Ile-de-France (the region around Paris), whose prosperous inhabitants had sufficient resource to build the nifty cathedrals that now recap Gothic architecture. The primeval surviving Gothic construction is the Abbey of Saint-Denis in Paris, begun in nigh 1140. Cathedrals with similar vaulting and windows before long appeared, start with Notre-Matriarch de Paris (c.1163-1345) and Laon Cathedral (c.1112-1215). A series of four distinct horizontal levels presently evolved: basis-level, then tribune gallery level, then triforium gallery level, above which was an upper, windowed level called a clerestory. The pattern of columns and arches used to back up and frame these unlike elevations contributed to the geometry and harmony of the interior. Window tracery (decorative window dividers) also evolved, together with a diverse range of stained drinking glass.

The eastern end of the early Gothic cathedral consisted of a semicircular projection called an apse, which contained the loftier altar encircled by the convalescent. The western terminate - the main entrance to the edifice - was much more visually impressive. Typically it had a wide frontage topped by two huge towers, whose vertical lines were counterbalanced by horizontal lines of monumental doorways (at basis level), to a higher place which were horizontal lines of windows, galleries, sculpture and other stonework. Typically, the long outside walls of the cathedral were supported by lines of vertical piers continued to the upper role of the wall in the form of a semi-arch known every bit a flying buttress. This early on way of Gothic architectural design spread beyond Europe to Germany, England, the Low Countries, Italy, Espana and Portugal.

For an interesting comparison with Eastern architecture, see: the 12th century Angkor Wat Khmer Temple (1115-45) and the 11th century Kandariya Mahadeva Temple (1017-29).

Loftier Gothic (1200-80) "Rayonnant"

On the Continent, the next phase of Gothic building design is known as Rayonnant Gothic architecture, whose English equivalent is referred to every bit "Decorated Gothic". Rayonnant Gothic architecture was characterized by new arrays of geometrical ornament which grew increasingly elaborate over time, but hardly any structural improvements. In fact, during the Rayonnant phase, cathedral architects and masons shifted their attention away from the task of optimizing weight distribution and building college walls, and concentrated instead on enhancing the 'look and experience' of the building. This approach led to the addition of many different decorative features including pinnacles (upright structures, typically spired, that topped piers, buttresses, or other exterior elements), moldings, and, notably, window tracery (such as mullions). The virtually feature feature of the Rayonnant Gothic is the huge circular rose window adorning the w facades of many churches, such every bit Strasbourg Cathedral (1015-1439). Other typical characteristics of Rayonnant architecture include the slimming-downwardly of interior vertical supports and the merging of the triforium gallery with the clerestory, until walls are largely composed of stained glass with vertical bars of tracery dividing windows into sections. The foremost examples of the Rayonnant style include the cathedrals of Reims, Amiens, Bourges and Beauvais.

Late Gothic (1280-1500) "Flamboyant"

A third fashion of Gothic architectural pattern emerged effectually 1280. Known as Flamboyant Gothic compages, it was even more than decorative than Rayonnant, and continued until about 1500. Its equivalent in English Gothic architecture is the "Perpendicular style". The feature feature of Flamboyant Gothic compages is the widespread use of a flame-like (French: flambe) S-shaped curve in stone window tracery. In add-on, walls were transformed into one continuous expanse of glass, supported by skeletal uprights and tracery. Geometrical logic was frequently obscured by covering the exterior with tracery, which overlaid masonry likewise as windows, augmented by complex clusters of gables, pinnacles, lofty porticos, and star patterns of extra ribs in the vaulting.

The focus on image rather than structural substance may have been influenced by political events in France, after King Charles Iv the Fair died in 1328 without leaving a male heir. This prompted claims from his nearest male relative, his nephew Edward Three of England. When the succession went to Philip VI (1293-1350) of the French House of Valois, it triggered the showtime of the Hundred Years War (1337), which led to a reduction in religious architecture and an increase in the structure of military and civil buildings, both imperial and public.

As a issue, Flamboyant Gothic designs are axiomatic in many town halls, order halls, and even domestic residences. Few churches or cathedrals were designed entirely in the Flamboyant manner, some notable exceptions beingness Notre-Dame d'Epine near Chalons-sur-Marne and Saint-Maclou in Rouen. Other of import examples include the n spire of Chartres and the Tour de Beurre at Rouen. In French republic, Flamboyant Gothic compages eventually lost its style - becoming much too ornate and complicated - and was superceded by the classical forms of Renaissance architecture imported from Italy in the 16th century.

Gothic Architectural Sculpture

Gothic sculpture was inextricably linked to compages - indeed it might even exist called "architectural sculpture" - since the exterior of the typical Gothic cathedral was heavily decorated with column statues of saints and the Holy Family unit, every bit well as narrative relief sculpture illustrating a diversity of Biblical themes. It was a huge source of income for sculptors throughout Europe, many of whom travelled from site to site. During the Early on Gothic, statues and reliefs were little changed from Romanesque sculpture in their potent, hieratic forms - witness the figures on the Royal Portal of Chartres Cathedral (1145-55). But during the 12th century and early 13th century, they became more truthful-to-life, as exemplified by the figures at Reims Cathedral (c.1240), who possess individual facial features and bodies, likewise every bit natural poses and gestures. Sculpture assumed a more prominent role during the flow 1250-1400, with numerous statues and other carvings actualization on the facades of cathedrals, typically in their own niches. Then, from around 1375 onwards, the courtly idiom known as International Gothic Art ushered in a new era of refinement and prettiness, which speedily led to an over-the-tiptop artificiality in all types of fine art including International Gothic illuminations and painting too every bit sculpture. From about 1450, Gothic sculpture in France was increasingly influenced by Renaissance sculpture existence adult in Italia, although traditional styles - notably in forest etching - persisted afterwards in Germany and other areas of northern Europe.

See also: English Gothic Sculpture (from roughly 1150 to 1250) and High german Gothic Sculpture (from 1190 to 1280).

Gothic Revival Movement (19th Century)
After first reappearing in late-18th century architecture (in Horace Walpole's Strawberry Hill home) Gothic designs experienced a major revival during the period of Victorian compages (c.1840-1900), notably in England and America. Championed by the fine art critic John Ruskin (1819-1900) and employed principally for its decorative and romantic features, Gothic Revivalism gave a meaning impetus to Victorian fine art thanks to buildings like: the Houses of Parliament (completed 1870), designed past Charles Barry and August Pugin; and Fonthill Abbey, designed by James Wyatt. In the United States, the way is exemplified by New York'south Trinity Church (1840), designed by Richard Upjohn (1802-78), and St Patrick's Cathedral (1859-79), designed by James Renwick (1818-95). For the influence of Gothic architecture on modern buildings in England and America, meet: Architecture 19th Century.

Articles on Medieval Art

• Medieval Christian Art (600-1200) Illuminated texts, sculpture.

• Medieval Sculpture (300-1000) From Late Antiquity to Romanesque.

• Medieval Artists (1100-1400) From Gislebertus onwards.

• Ottonian Art (900-1050) Compages, ivory carvings, illuminations.

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Source: http://www.visual-arts-cork.com/history-of-art/gothic-architecture.htm