# data[].attributes.headline
Europe (Flanders) | Hieronymus Bosch, The Last Judgment, c. 1482

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Europe (Flanders) | Hieronymus Bosch, The Last Judgment, c. 1482

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Europe (Flanders) | Martin Schongauer,St. Anthony Tormented by Demons, ca. 1480-1490

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Europe (Flanders) | Martin Schongauer,St. Anthony Tormented by Demons, ca. 1480-1490

# data[].attributes.body
- Engraving on metal plate (opposite woodcut technique)
Intaglio=incised
- St. Anthony tempted by demons, whom he resisted
- Intaglio=incised

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Europe (Flanders) | Jacques Daret. Woodcut of St. Christopher, Annunciation (detail). ca. 1435

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Europe (Flanders) | Jacques Daret. Woodcut of St. Christopher, Annunciation (detail). ca. 1435

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- Jacques Daret: Flemish Significance: block prints /block books could be owned by anyone (as opposed to illuminated manuscripts); print pinned onto wall in middle-class home: art for the people

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Europe (Flanders) | Buxheim St. Christopher. 1423 

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Europe (Flanders) | Buxheim St. Christopher. 1423 

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- Buxheim St. Christopher: Germany Medium? Woodcut;
- Technique (relief); flat, little shading
- Influence of printing press; made into popular picture books called block books
- Christopher—patron saints of travelers: a giant who ferried people across rivers; surprised how heavy a child was (it was Christ carrying the weight of the world)

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Europe (Flanders) | Rogier van der Weyden. Descent from the Cross . ca. 1435 

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Europe (Flanders) | Rogier van der Weyden. Descent from the Cross . ca. 1435 

# data[].attributes.body
- Similarities to Van Eyck? Heavy drapery, details of textures, fabrics, symbolism, modeling (oil paint)
- Differences? Shallow space: enhances dramatic, emotional quality (similar to large sculptured shrines)
- Depiction of the agony of loss
- Composition: pose of Mary echoes pose of Christ (even arms); visual balance as well as link—shared relationship; Mary also suffers, has fainted, but will be revived; foreshadows resurrection
- 3 figures on right, 4 on left; how balanced? Elaborate dress on right (gives us more to look at)
- Also figures curve inward to direct our eyes
- Skull: tradition that Christ was crucified on spot where Adam was buried: Adam=fall; Christ=redemption (also the Latin word for skull is calvaria = Calvary)
- Different goal:  emotional expression: gestures, faces (all crowded in together)

- Naturalism (brings immediacy to viewer; can relate)

- Rogier Van der Weyden, Descent from the Cross, details:
- Look at tears, pin, creases in headress
- Michelangelo is reported to have said “Flemish painting will please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many.”
- Attention to detail continues to be a quality of northern European art through several centuries
- Possible because of oil paint

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Europe (Flanders) | Jan van Eyck. The “Arnolfini Portrait.” 1434 

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Europe (Flanders) | Jan van Eyck. The “Arnolfini Portrait.” 1434 

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- Jan van Eyck, Arnofini Portrait: National Gallery, London next to portrait; considered a masterpiece of the period (Flemish)
Smarthistory 7:07
- Portrait=Waldemar Januszczak (start at 14:19)
- Signature: Jan van Eyck was here, 1434
- Subject? “Almost every object portrayed conveys the sanctity of the event, specifically, the holiness of matrimony” - (Gardner’s Art Through the Ages)
- Giovanni Arnolfini, Italian merchant in Bruges
- Textures, light ; space believable?
- Women could have died in childbirth. She is most likely pregnant

- Symbols:
-- Witnesses to the event; signature
-- Amber beads=chastity
-- Passion of Christ; God’s promise of salvation
-- Mirror=all-seeing eye of God
-- Single candle=Christ
-- Dog=fidelity
-- Clogs removed=holy ground
-- Hand raised=vow
-- Oranges=fruitfulness, prosperity
-- Finial on bedpost=St. Margaret,  patron saint of childbirth

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Europe (Flanders) | Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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Europe (Flanders) | Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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- Revival of portraiture seen in donor portraits and here; not big since antiquity; looks straight at viewer (first portrait in 1000 years to do so)
- ¾ view; eyes return your gaze
- Secular; middle-class; precision in details of skin, texture, stubble of beard
- Als Ich Kan (as I can/ as best I can)—his personal motto
- Self-portrait? Why would they think that? Scrutiny, squint of eye; no other name on frame (Jan van Eyck me fecit—made me)
- Sample/showpiece to show skill to buyers?
- Red turban—reference to ancient world (as well as lettering—Greek and Latin)
- In National Gallery in London

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Europe (Flanders) | Hubert and Jan van Eyck. Ghent Altarpiece (open), Church of St. Bavo, Ghent, Belgium. Completed 1432

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Europe (Flanders) | Hubert and Jan van Eyck. Ghent Altarpiece (open), Church of St. Bavo, Ghent, Belgium. Completed 1432

# data[].attributes.body
- Ghent Altarpiece (open): considered world’s “most coveted painting” WHY? First great oil painting
- History: 1566 dismantled and detached from elaborately carved frame in order to protect from Protestant iconoclasts (when reinstalled in 1587, frame missing)
-- Napoleon’s troops looted after French Revolution and brought to the Louvre
-- WWI some panels taken by German forces
-- WWII Hitler seized and stored in Neuschwanstein castle and then in salt mines
-- recovered by Americans (Monuments Men)
- Why so coveted? Embodiment of Christian faith, especially of Catholic Church
- Main theme? Redemption of mankind through Christ’s atonement
-- Plan of salvation? Mercy of God, redemption, adoration of the lamb
- Lamb of God (center) on altar: Christ’s sacrifice; bleeds into golden chalice (wine is blood of Christ)=Holy Communion/Eucharist
- Fountain: eternal life because of Christ (like well of Moses)
Meticulous attention to detail
- Top: God the Father on throne surrounded by Mary and John the Baptist (all part of my plan): different God than medieval view (wrathful; now God of forgiveness)
- Adam and Eve: Fall, vulnerability; need for a Savior; naked (not idealized as in Italian Renaissance)
- Creation? Details of plants—identifiable by species; clarity and details of natural world: the world around us is a reflection of God and his creations (not viewed this way in middle ages)
- “an eye like a microscope and a telescope at the same time” –God’s vision, all-seeing
- Delicate play of light and shade, extreme details, vibrant colors all possible because of (oil paint)

- Recovery of panels from Ghent altarpiece in Austrian salt mine
- SS troops planning to blow up if they couldn’t win war
- Saved in the nick of time by Austrian miners, Austrian double agents, and American monuments men

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Europe (Flanders) | Hubert and Jan van Eyck. Ghent Altarpiece (closed), Church of St. Bavo, Ghent, Belgium. Completed 1432

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Europe (Flanders) | Hubert and Jan van Eyck. Ghent Altarpiece (closed), Church of St. Bavo, Ghent, Belgium. Completed 1432

# data[].attributes.body
- Hubert and Jan van Eyck, Ghent Altarpiece: Polyptych—many panels; Very large (11’x15’ when opened)
- Credited with “invention” of oil paint by Italians; signed paintings (unusual at the time)
- 20 images inside and out; many hinges; (open only on Sundays and special feast days); both brothers worked on; Hubert died 1426, Jan completed (Hubert was the more famous at the time)
- A now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck – calling himself arte secundus (second best in the art) – completed it in 1432
- What is Gothic? Style of architecture/ niches/ sculptures in niches/ New Testament figures (2 St. Johns), altarpiece
- New: (northern Renaissance): rich detail/ velvety shadows (oil); continuous depth in room, cast shadows, realistic portraiture (skin on hands looks old), weighty folds/figures
- Center: Annunciation
- top: OT prophets and sybils: foretelling Christ’s birth, mission
- Grisaille= using only values of black, gray, and white
- Polyptych= many panels

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Europe (Flanders) | Workshop of Robert Campin. Merode (Annunciation) Triptych. ca. 1425–30 

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Europe (Flanders) | Workshop of Robert Campin. Merode (Annunciation) Triptych. ca. 1425–30 

# data[].attributes.body
- (Metropolitan Museum of Art Cloisters) Early Northern Renaissance:  Subject in center? Compare and contrast with Melchior Broederlam’s altarpiece (next slide)
- Difference in setting? House interior; effect? brings supernatural event to everyday life (not painted for a church but for fellow citizen--25”x25” ); brings sacred  to terms we can understand; bond between patron and Biblical figures
- What do you think of the perspective?  (overly foreshortened, different points of view)
- Attention to detail; equality of attention to every detail; every object can have symbolic significance (reason for intense study of everyday objects): candle/Christ, lilies/purity; vessel/Mary as pure vesse (holds pure water for cooking; Mary holds the pure “Living Water”l; mousetrap;cross (St. Augustine); disguised symbolism
- Names of Donors: Peter Ingelbrecht (angel bringer) and Scrynmaker (shrine or cabinet maker)
- Shows city scenes of Liege
- First oil painting
- triptych=a religious picture with one central panel and two hinged wings

- Right panel: Joseph
-- Lot of specific detail; greater illusion of reality

- Left panel: Donars
-- Look at subtle gradations of hues in her wimple

- Gabriel
-- Robert Campin, det.: Oil: dries slowly, translucent, can blend, shade; greater variations of hue; can rework; can make layers of glazes for subtle transitions, richer colors
-- Able to show reflective surfaces, more texture, greater detail

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Europe (Flanders) | Unicorn in Captivity, c. 1500 Unicorn Tapestries

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Europe (Flanders) | Unicorn in Captivity, c. 1500 Unicorn Tapestries

# data[].attributes.body
Works to Know (Chapter 14):

1. Claus Sluter. The Well of Moses, 1395–1406

2. Limbourg Brothers. January, Les Très Riches Heures du Duc de Berry. 1413–16

3. The Wilton Diptych. ca. 1400

4. Robert Campin and workshop. Mérode Triptych . ca. 1425–30

5. Hubert and Jan van Eyck. Ghent Altarpiece (open and closed), 1432

6. Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433

7. Jan van Eyck. The “Arnolfini Portrait.” 1434

8. Rogier van der Weyden. Descent from the Cross . ca. 1435

9. Martin Schongauer, St. Anthony Tormented by Demons, c. 1480-90

10. Hieronymus Bosch, The Last Judgment, c. 1482

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Europe (International Gothic) | The Wilton Diptych. ca. 1400 

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Europe (International Gothic) | The Wilton Diptych. ca. 1400 

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- National Gallery, London
- King Richard II (England) and patron saints kneeling before the Virgin Mary, Jesus, and Angels (wearing badges with emblems of King Richard)
- Gothic? gold background, haloes, flat space, floating feet
- International Gothic: sumptuous materials, elegance, patterns, repetition (wings, color, robes, faces), details in flowers
- Contrast in colors=heavenliness?
- Smarthistory video

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Europe (International Gothic) | August Page

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Europe (International Gothic) | August Page

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- August=Sister Wendy’s Story of Painting (21:23- 25):
- Nobles hunting (falcons); peasants cutting/loading hay and swimming; contrast of special rules of behavior and freedom

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Europe (International Gothic) | June Page

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Europe (International Gothic) | June Page

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- June: Outside Paris (Sainte-Chapelle still there)
- Making hay
- Repetition/patterns

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Europe (International Gothic) | May Page

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Europe (International Gothic) | May Page

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- May: Duke riding (from behind) and his two tiny dogs; greenery on heads (color of May)

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Europe (International Gothic) | April Page

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Europe (International Gothic) | April Page

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- April: Fairy-tale like; marriage
- Sister Wendy Beckett: “The two boats on the lake are fishing together; they have a net hung between them to catch fish for the duke’s table. They can only do this if they help each other and pull their weight, which again reminds us of marriage. Both have to try if it is to work.”

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Europe (International Gothic) | February Page

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Europe (International Gothic) | February Page

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- February: Farm; elegance of workers
- Composition directs eye up the path
- Balance; two figures in blue
- Even the birds have enough to eat
- We see the details of the smoke coming out of the chimney and the puff of air from the woman running across the snow
- Entrance to the house is cut out so we can see inside; people warm themselves by the fire; woman averts her gaze

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Europe (International Gothic) | Limbourg Brothers. January page, Les Très Riches Heures du Duc de Berry. 1413–16

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Europe (International Gothic) | Limbourg Brothers. January page, Les Très Riches Heures du Duc de Berry. 1413–16

# data[].attributes.body
- Limbourg Brothers, January:
- Manuscript painting--Book of Hours: collection of prayers for certain times of day; also calendar pages listing religious feast days; first available to aristocracy and later to other affluent people
- 3 brothers (Pol, Herman, and Jean de Limbourg); died in 1416 (probably of the plague; same year as Duke) and left unfinished; uncle was Jean Malouel, painter of Claus Sluter’s Moses Well and court painter to the Duke of Burgundy
For Duke of Berry, brother of Duke of Burgundy and King Charles V of France
- International Style: elegant, sumptuous materials (gold, blue), expensive dress; details of patterns, textures; dogs on table, salt cellar

- Thought question: How is social class portrayed in these two images? What are the implications behind the portrayals?
-- February Page: Peasants are dignified, elegant, hardworking, needs are met, even birds have enough food, still beautiful and beautiful clothing/blue

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Europe (International Gothic) | Infancy of Christ altarpiece: Interior: sculpted scenes of Christ’s sacrifice

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Europe (International Gothic) | Infancy of Christ altarpiece: Interior: sculpted scenes of Christ’s sacrifice

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Europe (International Gothic) | Melchior Broederlam. Infancy of Christ altarpiece, 1394–99

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Europe (International Gothic) | Melchior Broederlam. Infancy of Christ altarpiece, 1394–99

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- Also commissioned by Philip the Bold, duke of Burgundy, for chapel at the monastery
- Altarpieces: backdrops to the Mass; had important teaching function

Left
- Melchior Broederlam: Infancy of Christ: Story: Annunciation, Visitation
- Also commissioned by the duke Philip of Burgundy

Right
- Melchior Broederlam: Presentation in the temple (to Anna and Simeon), flight into Egypt
(Luke 2:25-38)
- Background: statue of a pagan god falls off a column as the Holy Family approaches; new order under Christ

- Duccio, Annunciation and Broederlam, Infancy of Christ:
Similarities? Gothic architecture, awkward scale and space, gold background, flat haloes
-- Differences? Strong modeling, landscape; realistic depiction of small details; foliage (typical of International Gothic)
-- Symbols: lily; diff. architecture (Romanesque/Gothic) stand for OT, NT
-- Like an illuminated manuscript but over 5 ft. tall (expensive, sumptuous, custom-made)

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Europe (International Gothic) | Claus Sluter. The Well of Moses, Chartreuse de Champmol, France. 1395–1406 

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Europe (International Gothic) | Claus Sluter. The Well of Moses, Chartreuse de Champmol, France. 1395–1406 

# data[].attributes.body
- Claus Sluter, The Well of Moses: International Gothic; for Carthusian monastery: aristocratic; attempt to maintain status and privileges: bridge between Gothic and newer naturalism of 15th century (continued refined forms of Gothic art but seeds of naturalism
- 6 prophets: Moses, David, Jeremiah, Zachariah, Daniel, and Isaiah; each prophesied of the death of Christ (scrolls represent); crucifix scene above showed fulfillment of OT prophecy (destroyed during French revolution—anti aristocracy);
- Gothic: sculpture in niche (like cathedrals), Biblical theme, symbolism;  New naturalism: expressive, individualized faces; specific details-- bronze spectacles (Jeremiah); interactive; gestures, emotional urgency

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- What’s going on in Europe in the 1400’s?
-- Printing press (c. 1450)
-- Manufacturing and trade
-- Scientific discoveries and exploration
-- Education and Humanism

- Printing press (about 1450): increased literacy, Gutenberg Bible=personal worship—power not just with aristocracy and church
- Manufacturing: beginnings of rise of merchant (middle) class; new art patrons, more trade vs. feudalism
- Scientific discoveries: Columbus, etc.: interest in the natural world
- Humanism: education, interest in humanity’s role in the world

- Attention to detail
- Religious symbolism
- New naturalism
- Oil paint: subtle effects of light and dark, modeling, greater details, glowing colors
- Art can be owned by middle class (especially prints)
- Mostly religious, also portraiture
- Details of modern life (cityscapes, interiors, etc.)
- Fantastical creatures/demons (Bosch, Schongauer)

- International Gothic Style
-- Bridge between Gothic style and early Renaissance
- (an aristocratic attempt to hold onto power)

- 15th Century Flanders
-- Flanders
(parts of France, England, Belgium, & Netherlands)

-- France, England, Belgium, Netherlands
-- From England=English
-- From France=French
-- From Flanders=Flemish

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Italy | Giovannino dei Grass. Hours of Giangaleazzo Visconti. ca. 1395 

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Italy | Giovannino dei Grass. Hours of Giangaleazzo Visconti. ca. 1395 

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- Sums up period: a bit of Byzantine, Gothic, a bit of moving toward interest in space: modeling, architecture

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Italy | The Bubonic Plague spreads across Europe, 1347-1351

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Italy | The Bubonic Plague spreads across Europe, 1347-1351

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- Bankruptcy, famine and then followed by the plague
- Siena and Florence we experiencing great economic success, intensified religion or made others merry with stories like Boccaccio’s Decameron, Lorenzetti brothers perish during the Back Death, many painters died, chapels, tombs, and funeral masses rose from concern about mortality,

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Italy | Doge’s Palace, Venice. Begun 1340

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Italy | Doge’s Palace, Venice. Begun 1340

# data[].attributes.body
- Doge=city leader; city council here
- Venice=political stability (unlike florence and Siena)
- Borrowed from Gothic, Byzantine, and Islamic
- Open (not fortress-like); ornamental
- Venice enjoyed political stability, merchant oligarchy, the city’s leader was known as the Doge and was elected by the oligarchs, no defensive structures in architecture here, airy and open, borrowed from Gothic, Byzantine and Islamic styles, meeting place for the Great Council, lavish moldings and quatrefoils make it ornate, stone work
- The architecture of Venice was directly influenced by Venetian trade with the Far East and Middle East. This resulted in the open arcades and decorative surfaces seen in buildings such as the Doge’s Palace.

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Works to Know (Chapter 13):

Altarpiece of St. Francis of Assisi/ St. Clare

Nicola Pisano. Pulpit. 1259–60 (plus reliefs by Nicola and Giovanni Pisano)

Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

Cimabue. Madonna Enthroned. ca. 1280–90

Giotto. Madonna Enthroned. ca. 1310

Arena (Scrovegni) Chapel, Padua. 1305–06 (and fresco paintings by Giotto)

Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

Duccio, Annunciation of the Death of the Virgin, from the Maestà Altar.
Museo dell’Opera del Duomo, Siena 1308-10

Simone Martini. Annunciation. ca. 1330

Ambrogio Lorenzetti. Allegory of Good and Bad Government, Palazzo Pubblico, Siena. 1338–40

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Italy | Ambrogio Lorenzetti. Good Government in the Country

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Italy | Ambrogio Lorenzetti. Good Government in the Country

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- First true landscape since medieval times; orderly hillside, fruitful nature, peasants work in harmony, safety all because of justice and good governing
- First 3 decades of 14th century were stable; in 1340’s catastrophes: warfare, bankruptcy, crop failures, famine, and then bubonic plague in 1348
- Wiped out more than half of populations of Florence and Siena

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Italy | Ambrogio Lorenzetti. Good Government in the City

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Italy | Ambrogio Lorenzetti. Good Government in the City

# data[].attributes.body
- Ambrogio=Smarthistory: Allegory of Good and Bad Government (10:18)
- Portrait of Siena; everyone busy, productive, harmonious (dancing in front)

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Italy | Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City (right), and portion of Good Government in the Country (far right), Sala della Pace, Palazzo Pubblico, Siena. 1338–40 

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Italy | Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City (right), and portion of Good Government in the Country (far right), Sala della Pace, Palazzo Pubblico, Siena. 1338–40 

# data[].attributes.body
- Allegory of Good Government (10:17)
- Brother of Pietro Lorenzetti
- Walls of palazzo of Siena, where laws were made; shows happy people, peace (propaganda)
- How to govern, how to be a good citizen—civic-minded

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Italy | Simone Martini. Annunciation. ca. 1330 

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Italy | Simone Martini. Annunciation. ca. 1330 

# data[].attributes.body
- triptych
- Student of Duccio in Siena; medieval frame not original; meant to be placed near - Duccio’s Maesta
- Gentle gestures; had seen French Gothic mss painting
- Lilies—emblem of purity of virgin
- Words: “Hail Mary, full of grace, the Lord is with you”
- (the word became flesh; words going into Mary’s ear become son of God
- Like Giotto: reduces story to simplest terms
- Like Duccio: lyrical elegance; spiritual realm emphasized over physical realm

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Italy | Duccio. Christ Entering Jerusalem, from the back of the Maestà Altar. 1308–11

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Italy | Duccio. Christ Entering Jerusalem, from the back of the Maestà Altar. 1308–11

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- Duccio used architecture to create space and help narrative outdoors here
- Diagonal movement of architecture creates depth

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Italy | Duccio, Madonna Enthroned, center of the Maestà Altar. 1308–11

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Italy | Duccio, Madonna Enthroned, center of the Maestà Altar. 1308–11

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Italy | Duccio. Annunciation of the Death of the Virgin, from the Maestà Altar. Museo dell’Opera del Duomo, Siena

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Italy | Duccio. Annunciation of the Death of the Virgin, from the Maestà Altar. Museo dell’Opera del Duomo, Siena

# data[].attributes.body
- Annunciation of Death of Virgin (angel Gabriel returns to again Mary to warn her of her impending death): attempt at space, foreshortening (beams); figures framed by architectural space

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Italy | Duccio. Madonna Enthroned, center of the Maestà Altar. 1308–11

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Italy | Duccio. Madonna Enthroned, center of the Maestà Altar. 1308–11

# data[].attributes.body
- Duccio from Siena (neighboring city, competition; victory against Florence in 1260; took virgin Mary as protector/patron

- To celebrate, commissioned Duccio to make a huge altarpiece

- “Greek Manner” (Byzantine)—tempera on panel; richer colors than fresco

- Combines with some space (knee, throne)

-Compare with Cimabue (next): Duccio relaxes rigid, angular draperies; softer, more 3-D; modeling of light

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Italy | Palazzo Pubblico, Siena. Begun ca. 1298

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Italy | Palazzo Pubblico, Siena. Begun ca. 1298

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-Florence and Siena Independent city-states; competed with each other
- Started at same time, but Siena taller tower
- Strong, fortress like

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Italy | Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06 

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Italy | Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06 

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- Master of composition; draws our eye to Christ--(not in center: rocky hill leads, figures surround; figures with backs to us looking in; occupy space, foreshortened (no other function; would not have been in medieval period)
- Emphasis on Christ as human; in lap, on knee, dead
- Solid bodies; modeling, bulk, believable ground, illusion of space; continuation of hill on next panel
- Tree-looks dead (all of nature mourns), symbol of resurrection (also Jonah panel on left)
- Angels mourn, foreshortened; individualism in reactions (as below)

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Italy | Giotto. Christ Entering Jerusalem, Arena (Scrovegni) Chapel, Padua | 1305–06

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Italy | Giotto. Christ Entering Jerusalem, Arena (Scrovegni) Chapel, Padua | 1305–06

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- Triumphal entry: fulfills OT prophecy (mounted on donkey);
What makes it look like events are close to viewer? (low on picture plane)
- What makes it look like events are in 3-D? modeling
- Isolation and dignity of Christ
- Christ in profile (Roman: noble pose); moves forward throughout cycle left to right; shows lapse of time; also figures taking off clothing; like story boards (symbolic representation in group—abbreviated)
- Buon fresco: paint on wet plaster, bonds; but not blue; lapiz lazuli expensive; Enrico wanted to show its brilliance so put on secco fresco (dry fresco); didn’t last
- Modeling of figures new! Shows bulk
- Earthly setting; not gold, shows ground

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- Chancel wall
- God the Father in a frame at top, overseeing events below: part of his plan
- Annunciation scene
- Betrayal of Judas and Visitation
- Interior of chapel with believable space
- Next to each scene are OT scenes or prophets that prefigure the NT events
- Faux marble like Roman stone work

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Italy | Interior of Arena (Scrovegni) Chapel, Padua | 1305–06

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Italy | Interior of Arena (Scrovegni) Chapel, Padua | 1305–06

# data[].attributes.body
- Palace chapel—connected to Scrovegni Palace (located on site of former Roman arena)
- One-room hall covered with barrel vault; built to be Scrovegni’s burial chapel
- Scrovegni: banker; worry about connection to usury (charging interest); built chapel as a good work to atone for usury (Enrico Scrovegni in Last Judgment scene handing church to 3 Mary’s—on right side)
- Floor to ceiling fresco with three registers (even illusionistic marble panels): Cycle of Mary’s life (top), Christ’s life (middle), Christ’s passion (death and resurrection (bottom)
- Altar wall: Anunciation
- Back wall: Last judgment (as you leave); take these things seriously; you will suffer according to your sins

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Italy | Giotto. Madonna Enthroned | 1310 

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Italy | Giotto. Madonna Enthroned | 1310 

# data[].attributes.body
- Which trend does Giotto follow?
- Giotto student of Cimabue:
- Similar? to Madonna Enthroned Cimabue
- Body shows beneath clothing, more physical solidity (except flat haloes)
- Loved gold and pattern of Byzantine, but leans to classical tradition of figure

- Cimabue. Madonna Enthroned. ca. 1280–90
- Giotto. Madonna Enthroned. ca. 1310
- Compare: Loved gold and pattern of Byzantine, but leans to classical tradition of figure
-- Body shows beneath clothing, more physical solidity (except flat haloes), modeled in light; gradation of lights and darks; space more defined, solid
-- Angels kneeling suggest space further; also overlapping saints
-- Illusionistic textures shows familiarity with ancient roman painting

- Differences:
- This one is more realistic. The angels appear flat on the ground, you can see the shape of the body under the robes with the light
- No prophets in this one
- The focal point is more obvious in this one

# data[].attributes.headline
Italy | Cimabue. Madonna Enthroned | 1280–90 

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Italy | Cimabue. Madonna Enthroned | 1280–90 

# data[].attributes.body
- 12 feet tall
- Cimabue=bull’s head; stubborn; from Florence
- Byzantine: gold, long nose, frontal, solemn expression
- Loved Byzantine color, but 3-D throne—shows space
- Which trend?

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Italy | Palazzo della Signoria (Palazzo Vecchio), Florence. Begun 1298

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Italy | Palazzo della Signoria (Palazzo Vecchio), Florence. Begun 1298

# data[].attributes.body
- 2 rival cities: Florence and Siena; both independent city-states; both republics
- Strong, fortress like (like castles in region: thick stone walls, battlements, tall tower, rusticated stones give appearance of greater strength
- Large tower—to see and be seen; symbol of civic pride;
palace of wealthy merchant ruling family (Medicis) AND city hall; republic; expressed power of communal good over powerful aristocracy

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Italy | Andrea Pisano. The Baptism of Christ, from the south doors, baptistery of San Giovanni, Florence | 1330–36

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Italy | Andrea Pisano. The Baptism of Christ, from the south doors, baptistery of San Giovanni, Florence | 1330–36

# data[].attributes.body
- Baptism of Christ; classical proportions and drapery!

# data[].attributes.headline
Italy | Andrea Pisano. South doors, baptistery of San Giovanni, Florence | 1330–36

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Italy | Andrea Pisano. South doors, baptistery of San Giovanni, Florence | 1330–36

# data[].attributes.body
- New pair of bronze doors for baptistery at Florence
- 3rd Pisano—not related (also from Pisa)
- Life of John the Baptist (patron saint of Florence)
- Part medieval (Gothic quatrefoil frames) part classical

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Italy | Plan of Florence cathedral and campanile

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Italy | Plan of Florence cathedral and campanile

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Italy | Nave and choir of Florence cathedral

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Italy | Nave and choir of Florence cathedral

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- Vaguely Gothic—pointed arches, aisles
- Statement of wealth and importance of Florence

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Italy | Arnolfo di Cambio, Florence Cathedral, begun 1296

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Italy | Arnolfo di Cambio, Florence Cathedral, begun 1296

# data[].attributes.body
- Florence Cathedral; bell tower designed by Giotto
- Took them awhile to figure out the dome so there was just a hole in the roof for awhile

# data[].attributes.body
- Straightforward basilica plan; proportions broad instead of vertical

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Italy | Arnolfo di Cambio (?). Nave and choir of Santa Croce, Florence. Begun | 1295

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Italy | Arnolfo di Cambio (?). Nave and choir of Santa Croce, Florence. Begun | 1295

# data[].attributes.body
- Roman roots; only vague reference to Gothic: basilica plan, proportions broad instead of vertical, wooden trussed roof;
- Gothic:pointed arches

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Itlay | Arnolfo di Cambio (?). Santa Croce, Florence. Begun | 1295

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Itlay | Arnolfo di Cambio (?). Santa Croce, Florence. Begun | 1295

# data[].attributes.body
- Leading and largest Franciscan church (on the east side of town); Basilica plan; burial place of Michelangelo and Galileo (and other famous Italians)

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Italy | Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

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Italy | Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

# data[].attributes.body
- Giovanni Pisano son of Nicola
- Also part of a pulpit; Same story (nativity, angels and shepherds, symbolic bathing of Christ);
- Differences? Focuses on landscape, animals;
-- higher relief (more deeply carved), thus more darks and lights, rounder; less crowded; also more action
-- Mary: young mother rather than dignified matron

# data[].attributes.headline
Italy | Nicola Pisano. Nativity, detail of pulpit

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Italy | Nicola Pisano. Nativity, detail of pulpit

# data[].attributes.body
- from same pulpit (top part); scenes from life of Christ
- Nativity; midwives bathing Christ below (symbolic of baptism);
- Joseph gazes with wonder
- Left top corner: Annunciation
- Crowded, looks like Roman sarcophagus
- Mary looks like a Roman matron; dignified

# data[].attributes.headline
Italy | Nicola Pisano. Fortitude, detail of pulpit

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Italy | Nicola Pisano. Fortitude, detail of pulpit

# data[].attributes.body
- Daniel with lions? Or Herakles (lion skin, cub on shoulder)? Symbolizes virture of fortitude; First fully nude carving since Rome?
- Classical, humanist ideas coming back! Nicola Pisano studied classical sculpture
- Humanism=emphasis on human potential

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Italy | Bonaventura Berlinghieri,  St. Francis of Assisi, 1235 and Altarpiece of St. Clare, ca. 1280 

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Italy | Bonaventura Berlinghieri,  St. Francis of Assisi, 1235 and Altarpiece of St. Clare, ca. 1280 

# data[].attributes.body
- Italians loved big painted altarpieces; egg-based tempera
- St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent (called Poor Clares; founded by the noblewoman Clare, who was later canonized)
- Byzantine influence! Frontal, elongated, gold, large halo, large eyes, long Byzantine nose
- Vignettes at side (apron scenes): stories of her service
- 2 trends in Italian painting: ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy
- Pictures on the sides are called apron scenes

- Altarpiece
-- Italians loved big painted altarpieces; egg-based tempera
-- St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent
-- Byzantine influence! Frontal, elongated, gold, large halo, large eyes, long Byzantine nose
-- Vignettes at side: stories of her service
2 trends in Italian painting: : ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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Italy | Anonymous. St. Francis Preaching to the Birds, from Basilica of San Francesco, Assisi. Begun 1290 (?). Fresco

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Italy | Anonymous. St. Francis Preaching to the Birds, from Basilica of San Francesco, Assisi. Begun 1290 (?). Fresco

# data[].attributes.body
- St. Francis: friar, started Francisican order, died 1226
Story that St. Francis had connection with the birds and animals; when he preached, they listened; also preached to poorest
- Emphasizes nature as manifestation of God’s presence; all creatures connected
fresco: paint on wet plaster
- Giornata=“day’s work”—could only do one portion at a time; sections visible now
- Shallow stage; figures have bulk! Interest in space; also light! Light washes over forms, giving them mass and volume
- Maybe by Giotto—we don’t know
- 2 trends in Italian painting: ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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Italy | Interior of Upper Church, Basilica of San Francesco, Assisi. Begun 1228; consecrated 1253

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Italy | Interior of Upper Church, Basilica of San Francesco, Assisi. Begun 1228; consecrated 1253

# data[].attributes.body
- Burial place of St. Francis of Assisi; founded Franciscan order; believed God was present in nature; took vows of poverty; sought to help poor; wanted to help people visualize - Biblical events (nativity scenes, etc.); native of Italy
- Dominicans: lived in cities among people; served, taught, made art work (St. Thomas Aquinas)
- Gothic age? No nave arcade or aisles; not tall; no different levels; large wall surface instead; (Italians favored mural painting--fresco); paintings of the life of St. Francis
- Gothic arches, some stained glass
- 2 trends in Italian painting: : ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

# data[].attributes.body
- Assisi
- After fall of Rome, no political unity in Italy (no central govt, not called Italy; separate city-states; mostly republics led by wealthy merchants; a few kingdoms or duchies in north (Venice, Genoa)

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Gothic (Outside France) | Roettgen Pietà | Early 14th century 

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Gothic (Outside France) | Roettgen Pietà | Early 14th century 

# data[].attributes.body
- New kind of religious image; meant for contemplation
- Painted wood
- Pieta=sorrow (pity as well as piety) : gut-wrenching; German expressionism
- Emphasizes personal relationship with God; wants us to share horror of Christ’s suffering and identify with grief of Mary
- Encourages Compassion (“to suffer with”)
- Roots in past (compare with Ottonian Geru crucifix; weightier, more physical than Carolingian)

- Connie Romrell
- Left: Virgin with Dead Christ (Rottgen Pieta) Goth
- Right:Michelangelo. Pietà. ca. 1498

- Similarities: Both of the sculptures were done in a triangle form. Both Mary’s are looking at the dead Christ. Both Mary’s are seated. Both sculptures are The Virgin and the dead Christ. They are both showing the body of Jesus on the lap of his mother Mary after the Crucifixion.
- Differences: The Christ in the Rottgen Pieta is looking toward us while the Christ in the Florentine Pietà is looking at his Mother Mary. There are some decorations on the base of the Goth one and not on the one from the renaissance. The one from the Renaissance is more full, more real life looking. The Florentine Pietà is made of Marble and is 174 cm × 195 cm (68.5 in × 76.8 in) while the Rottgen Pieta is made of wood and is 34.5in (87.5cm) high.
- Conclusions: Both the Goth and the renaissance were trying to show the best way to depict Christ along with the Virgin. They are both pretty good works of art. They both caught the Mother Virgin’s countenance as very sad and mourning for her Son.

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Gothic (Outside France) | Ekkehard and Uta, Naumburg cathedral | 1249–55

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Gothic (Outside France) | Ekkehard and Uta, Naumburg cathedral | 1249–55

# data[].attributes.body
- Donors—honored as examples for funding 11th-century cathedral (new fundraising campaign; wanted to encourage new donors)
- From the past, but individualized as if portrayed from life
gestures, gazes give human quality
- Painted; outdoor sculptures were painted, too, but paint rarely survives

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Gothic (Outside France) | Naumburg Master. The Kiss of Judas, on the choir screen, Naumburg cathedral | 1255

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Gothic (Outside France) | Naumburg Master. The Kiss of Judas, on the choir screen, Naumburg cathedral | 1255

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- Kiss of Judas, Peter cuts ear; graphic, woman on right gasps; expressive; Christ meek (contrast with Peter)
- Color survives (inside)

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Gothic (Outside France) | Naumburg Master. Crucifixion, on the choir screen, and the Virgin and John the Evangelist, Naumburg cathedral, Germany | 1255

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Gothic (Outside France) | Naumburg Master. Crucifixion, on the choir screen, and the Virgin and John the Evangelist, Naumburg cathedral, Germany | 1255

# data[].attributes.body
- German sculpture: emotional, passionate, shows suffering
- Less on outside of building, more on inside (because outside Romanesque longer; sculpture would have looked out of place)
- Choir screen sets off space between nave and altar
- Christ in center flanked by Mary and John; life size, near our level; brings down to earth physically and emotionally
- Suffering of Christ becomes a human reality; emphasis on weight of his body
- Look at scene above (next)

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Gothic (Outside France) | Chapel of Henry VII, Westminster Abbey, London | 1503–19

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Gothic (Outside France) | Chapel of Henry VII, Westminster Abbey, London | 1503–19

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- Fan vaulting—architectural pageantry; complex vault patterns unrelated to structure of walls or vaults but have life of their own; obscure rather than clarify architecture

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Gothic (Outside France) | Gloucester Cathedral(Cloisters)

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Gothic (Outside France) | Gloucester Cathedral(Cloisters)

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- Cloisters with fan vaulted ceiling—used in Harry Potter
- Gloucester=Harry Potter and Gloucester Cathedral (4:30)

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Gothic (Outside France) | Choir of Gloucester cathedral, England | 1332–57

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Gothic (Outside France) | Choir of Gloucester cathedral, England | 1332–57

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- Later English Gothic; Perpendicular style: vertical thrust
Responds from floor to vault
- Vault: ornamental network that makes it look like one continuous surface; looks like canopy, unifies space

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Gothic (Outside France) | Nave of Salisbury cathedral

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Gothic (Outside France) | Nave of Salisbury cathedral

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- Shorter; column clusters don’t go all the way up the wall (less upward thrust)
- Horizontal divisions dominate
- Ribs rise all the way from triforium level; create steep curve, clerestory tucked in among vaults (like Durham Cathedral—now by choice)

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Gothic (Outside France) | Plan of Salisbury cathedral, England | 1220–65

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Gothic (Outside France) | Plan of Salisbury cathedral, England | 1220–65

# data[].attributes.body
- Double transept common in England
- Apse different: not round, no ambulatory (no relics or pilgrims)

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Gothic (Outside France) | Salisbury cathedral (from the southwest) | spire ca. 1320–30

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Gothic (Outside France) | Salisbury cathedral (from the southwest) | spire ca. 1320–30

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- 1 huge transept tower instead of two west towers
- Cloister (usually with monastery)
- Lower and broader, but longer (long, low, sprawling look)
- Flying buttresses not really needed; just for show
- More spread out—park like
- Façade is wider than church; like a screen

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Abbey church of Saint-Denis, France. 1140–44 (outside, ambulatory, and plan)
Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

Cathedral of Notre-Dame, Paris, ca. 1200-50
Cathedral of Notre-Dame, Reims (exterior, portal sculptures)
Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70
Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris

Salisbury Cathedral, ca. 1320-30 (exterior, plan, and nave)

Chapel of Henry VII, Westminster Abbey, London. 1503-19

Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

Roettgen Pietà. Early 14th century

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Gothic (Courtly) | Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris

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Gothic (Courtly) | Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris

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- Same sway; elegance becomes an end in itself; less interested in naturalism
- Disembodied? Sway doesn’t support body
- But naturalism in details: child plays with mother’s veil—more like a real child
- Graceful, expressive quality essence of Gothic art—not naturalism or classicism

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Gothic (Courtly) | Virgin of Jeanne d’Évreux | 1339 

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Gothic (Courtly) | Virgin of Jeanne d’Évreux | 1339 

# data[].attributes.body
- Freestanding sculpture! Portal sculpture not so common in Late Gothic
- Jeanne d’Evreux queen of France; sculpture commissioned by her (donated to Saint Denis) and a lot like Virgin in Hours of Jeanne d’Evreux by Pucelle!
- Sway, tender, elegant
- Metalwork valued medium
- Drapery: vertical folds and curves play off each other
- Mary holds fleur-de-lis, symbol of French royalty (associates Mary with queen)
- Passion of Christ on bottom
- gilt

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Gothic (Courtly) | Guillaume de Machaut. The Enchanted Garden, from Le Dit du Lion | 1350–55

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Gothic (Courtly) | Guillaume de Machaut. The Enchanted Garden, from Le Dit du Lion | 1350–55

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- Secular book!
- One of first true landscape paintings in Europe
- Cool colors, flickering highlights, observation of plants and animals, some illusion of space

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Gothic (Courtly) | Jean Pucelle. The Betrayal of Christ (folio 15 verso) and Annunciation (folio 16 recto), from the Hours of Jeanne d’Évreux | 1324–28

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Gothic (Courtly) | Jean Pucelle. The Betrayal of Christ (folio 15 verso) and Annunciation (folio 16 recto), from the Hours of Jeanne d’Évreux | 1324–28

# data[].attributes.body
- Book of hours=private prayer book; prayers for each unit of the day (became popular at this time)
- Vespers=evening prayers
- Jeanne d’Evreux queen of France
- Small—playing card size; fitting for private use
- Early artist known! Kiss of Judas in grisaille; adds roundness to the forms
- sway
- Mary inside home; spatial recession not seen in Europe before but held by angels (not ordinary abode)
- Droleries=playful border drawings, decoration (monkey, rabbit, squirrel); queen kneeling inside letter D meant to be Jeanne d’Evreux

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Gothic (Courtly) | Melchizedek and Abraham, from the Psalter of St. Louis | 1253–70 

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Gothic (Courtly) | Melchizedek and Abraham, from the Psalter of St. Louis | 1253–70 

# data[].attributes.body
- Abraham paying tithes to Melchizedek, but in Gothic chain mail, in front of Gothic cathedral
- (like statue in Reims Cathedral)
- Abraham and troops: crusader armor (holy by association); - Louis organized two crusades and died in one in Tunisia
- Gold background; painted architecture modeled after Sainte-Chapelle; looks like niches
- Heavy dark outlines like stained glass (lead strips)
- “court style”;“elegant style”: sway, graceful, smiling; exemplifies refined taste of the court art in Paris
- Gothic sway

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Gothic (Courtly) | Blanche of Castile and King Louis IX of France, Bible of Saint Louis (Moralized Bible), France, probably Paris | 1227-34

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Gothic (Courtly) | Blanche of Castile and King Louis IX of France, Bible of Saint Louis (Moralized Bible), France, probably Paris | 1227-34

# data[].attributes.body
- Blanche of Castile was the mother of King Louis IX (served as regent from the time he was 12-18)
- Each figure is set against a ground of burnished gold, seated beneath a trefoil arch.
- Moralized bibles, made expressely for the French royal house, include lavishly illustrated abbreviated passages from the Old and New Testaments. Explanatory texts that allude to historical events and tales accompany these literary and visual readings, which—woven together—convey a moral.
- Below: cleric (tonsured head) dictating to an illuminator

- Scene echoes scenes of Virgin Mary and Christ enthroned side-by-side as celestial rulers of heaven
- Louis IX achieved the status of sainthood, awarded by Pope Bonifiace VIII 27 years after the king’s death

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Gothic (High) | Cologne Cathedral Flying Buttresses 

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Gothic (High) | Cologne Cathedral Flying Buttresses 

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Gothic (Rayonnant or Court) | Sainte-Chapelle Stained Glass

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Gothic (Rayonnant or Court) | Sainte-Chapelle Stained Glass

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Gothic (Rayonnant or Court) | Sainte-Chapelle 2

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Gothic (Rayonnant or Court) | Sainte-Chapelle 2

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Gothic (Rayonnant or Court) | Sainte-Chapelle Ceiling

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Gothic (Rayonnant or Court) | Sainte-Chapelle Ceiling

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Gothic (Rayonnant or Court) | Interior of upper chapel, Sainte-Chapelle, Paris

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Gothic (Rayonnant or Court) | Interior of upper chapel, Sainte-Chapelle, Paris

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- All stained glass! No levels
- Elaborate setting for relics of part of the cross, the iron lance, the sponge, and a nail
- Rich colors, gold—whole thing is like a reliquary
- Lancets emphasize verticality even though not as tall as before
- Spirituality made manifest through materials, decoration
- This church had the relics of the crown of thorns, the spear, a nail, and the sponge

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Gothic (Rayonnant or Court) | Sainte-Chapelle, Paris (from the southwest) | 1241–48 (Rose window, late 15th century)

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Gothic (Rayonnant or Court) | Sainte-Chapelle, Paris (from the southwest) | 1241–48 (Rose window, late 15th century)

# data[].attributes.body
- Smaller scale after about 1240; high expense, taxes to build monumental churches; Beauvais Cathedral in France stone roof collapsed; cold feet and also lack of funds
- palace chapel--connected
- Under Louis IX (became St. Louis 30 years after death)
- Rayonnant Style— “to radiate light”; tracery that appeared first in rose windows is not all over building

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Gothic (High) | Cologne Cathedral, 1248-1880

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Gothic (High) | Cologne Cathedral, 1248-1880

# data[].attributes.body
- Cologne Cathedral 1248-1880 (stopped construction in 1400’s for 400 years)—tallest Gothic cathedral

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Gothic (High) | Annunciation and Visitation, west portal of cathedral of Notre-Dame, Reims. ca. 1230–65

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Gothic (High) | Annunciation and Visitation, west portal of cathedral of Notre-Dame, Reims. ca. 1230–65

# data[].attributes.body
- Not columns! Standing in front of columns on plinths
- Annunciation and Visitation
- Visitation scene (right) energetic like Ebbo gospels (also in Reims); knees sticking out, drapery emphasizes bulk of bodies; more classical (possibility that they had Roman models—built over Roman baths)
- actually tells a story, interaction; S-curve even more than St.Theodore from Chartres
- Left: different sculptors; not intended as a pair;  Gabriel carved at least a decade after Mary (straight, tubular); Gabriel graceful, gentle, smaller head, sway, smile, strong S curve: “elegant style” or “court style”
- Mary being told by the angel she's having a child and Mary and Elizabeth
- The one on the left is the later

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Gothic (High) | Nave and side aisle of cathedral of Notre-Dame, Amiens

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Gothic (High) | Nave and side aisle of cathedral of Notre-Dame, Amiens

# data[].attributes.body
- Breathtaking height—144 feet (holy number); stretching everything to limits; height and lightness of supports; emphasis on verticality and translucency
- See height comparison next slide
- Reims Cathedral the coronation cathedral of the kings of France; kings held court in Paris
- Façade physically light; where is tympanum? Replaced by rose window
- Pierced walls—full of light
- West façade of cathedral of Notre-Dame, Paris. ca. 1200–50 Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont.

- Cathedral of Notre-Dame, Reims. Begun 1220
- Similar? Towers, portals, rose windows, tracery, lace work in stone
- Different: everything points up! More prominent points above archivolts, few horizontal lines; pinnacles on everything
- Portals project outward instead of being recessed; gabled
Gallery of statues raised to  third level arcade
- Everything taller and narrower

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Gothic (High) | Comparison of nave elevations in same scale (after Grodecki)

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Gothic (High) | Comparison of nave elevations in same scale (after Grodecki)

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- Gallery higher in proportion
- Width narrower in proportion to height

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Gothic (High) | Gargoyles at Notre Dame, Paris 

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Gothic (High) | Gargoyles at Notre Dame, Paris 

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- (2 functions: ward off evil spirits, used for drainspouts)

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Gothic (High) | Nave of cathedral of Notre-Dame, Paris

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Gothic (High) | Nave of cathedral of Notre-Dame, Paris

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- Notre Dame, June 2017
- 3-part nave elevation: nave arcade, gallery, clerestory

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Gothic (High) | West façade of cathedral of Notre-Dame, Paris | 1200 – 1250 C.E.

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Gothic (High) | West façade of cathedral of Notre-Dame, Paris | 1200 – 1250 C.E.

# data[].attributes.body
- Emphasis on harmony, geometric order, and proportion (relation to divine; all things measured)
- Façade still heavy but lightened by lace-like stonework everywhere and window perforations

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Gothic (Early) | Nave of cathedral of Notre-Dame, Laon, France | 1160 – 1210 C.E.

# data[].attributes.subject
Gothic (Early) | Nave of cathedral of Notre-Dame, Laon, France | 1160 – 1210 C.E.

# data[].attributes.body
- Comparison: Santiago de Compostela
-- Long narrow nave, very tall, guide you towards the alter on the back
-- Notre Dame has more light, barrel vault on Santiago groin on right, Santiago doesn't have a triformium, Notre Dame has pointed arches, Notre Dame has a wider nave, Notre Dame has stained glass and flying buttresses
-First church to be built in gothic style from the beginning; example of Early Gothic interior (since interior of Chartres destroyed by fire in 1194)
- 4-part nave elevation: nave arcade, gallery, triforium, clerestory (all present in Romanesque architecture but never all together in the same building)
- Stacking lightens the weight of the walls
- rhythm: 1 pointed arch in arcade, 2 in gallery, 3 in triforium
- Light: directly in clerestory, indirectly in gallery and triforium

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- Good Samaritan helps pilgrim; promises to return; above: creation of Adam and Eve, Garden of Eden

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Gothic (Early) | Notre-Dame, Chartes Cathedral Windows: Creation and Good Samaritan

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Gothic (Early) | Notre-Dame, Chartes Cathedral Windows: Creation and Good Samaritan

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Stained Glass Creation and Good Samaritan

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- What were the purposes of stained glass windows? Light, to instruct, to decorate, to transform (to raise; make heavenly)
- What’s going on here? Good Samaritan Window: bottom to top: Christ gives the parable; man sets out of Jerusalem (holy city); thieves strip and beat him; Levite and priest don’t help

- “The man who was going down is Adam. Jerusalem is paradise, and Jericho is the world. The robbers are hostile powers. The priest is the Law, the Levite is the prophets, and the Samaritan is Christ. The wounds are disobedience, the beast is the Lord’s body, the [inn], which accepts all who wish to enter, is the Church. … The manager of the [inn] is the head of the Church, to whom its care has been entrusted. And the fact that the Samaritan promises he will return represents the Savior’s second coming.” (The Samaritan also pays in advance for any more debts concurred; Christ has paid in advance for our sins) 4
FEBRUARY 2007 THE GOOD SAMARITAN: FORGOTTEN SYMBOLS

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- The story of Christ's birth, starting with Mary getting told by the angel

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- Joseph in Egypt story

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Gothic (Early) | Notre Dame de la Belle Verrière, cathedral of Notre-Dame, Chartres. ca. 1170 (framing panels are 13th century)

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Gothic (Early) | Notre Dame de la Belle Verrière, cathedral of Notre-Dame, Chartres. ca. 1170 (framing panels are 13th century)

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- “Our Lady of the Beautiful Window”
- Assembled with small pieces of glass like mosaic in lead strips; accentuates pattern and decorative effect (like animal style)
- Painting with glass and painting on glass (face, drapery)

- Purpose of stained glass windows
-- To beautify the church
-- To teach the scriptures
-- To light the church
-- To transform the material stone into immaterial
-- To transport the viewer to “the heavenly Jerusalem”

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Gothic (Early) | North transept of cathedral of Notre-Dame, Chartres

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Gothic (Early) | North transept of cathedral of Notre-Dame, Chartres

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- Best example of stained glass windows; still has most of its 180+ original windows
- Transforms light (Byzantine mosaics reflected light)
- Ethereal light dissolves physical solidity of church; merges temporal world with divine world; creates mystical experience for worshiper
colored glass held together by lead caning; also painting on glass (faces)
- 1939: locals took stained glass windows out of cathedral and put in a salt mine to preserve during WWII
Rose window; virgin underneath in center