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Chapter 18
The Age of the Great Cathedrals:
Gothic Art
Gardner’s Art Through the Ages,12e
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Europe About 1200
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The Origin of the term Gothic
•Gothic (13th and 14th c.) was actually a derisive name coinedby the famous Renaissance artist and art historian GiorgioVasari (the Father of Art History) to describe a style ofarchitecture he found distasteful
•He saw this style of architecture as inferior to Greek andRoman building and said it was something only “The Goths”could have produced
•Gothic tribes were blamed for the decline of Classicalcivilization because of their incursions into the RomanEmpire
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Contextual Issues to Consider:
•Paris becomes the intellectual center of Gothic Euraope
•Growing importance of the “Cult of the Virgin”– churchesbuilt to “notre dame”
•Growth of cities shifts patronage away from monasteries tourban Bishops and clergy
•Political power of French Kings is consolidated due totaxation, laws and government = stability
•Development of new building technology
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Characteristics of Gothic Style:
•Choir, ambulatory, radiating chapels become unified openspace, interior walls “dissolve”
•Rib-groin vaulting carries weight of roof structure abovedown to cluster piers and columns
•Stained glass windows replace heavy walls of Romanesquestyle
•Pointed arch transfers more weight from above vertically,reducing outward thrust of vaulting
•Greater flexibility in spanning spaces using ribbed groinvaulting and pointed arch…
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Characteristics of Gothic Style:
•Flying buttresses transfer weight of walls and roof to exteriorof the cathedrals
•Increased verticality possible using the above building forms,nave and towers become much higher
•Light, through large stained glass windows, fills interior spacewith colored light = divine light
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Figure 18-1Ambulatory andradiating chapels, abbeychurch, Saint-Denis,France, 1140–1144.
Abbot Suger:
Inventor of theGothic Style
He wanted toremodel hischurch in a waymuch differentfrom theRomanesquestyle…
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According to writings by AbbotSuger, we know he wanted hischurch to be a place of greatphysical beauty, which inspireshope in the beauty of heaven.
This was very different from thefear-inspiring Last Judgment scenesin the tympanums of Romanesquestyle churches.
His first major re-design was in theambulatory, using ribbed vaultswhich were constructed byintersecting pointed arches, asopposed to simpler groin vaults.
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Figure 18-3 Vaults of the ambulatory and radiating chapels of the choir, abbey church,Saint-Denis, France, 1140–1144.
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Figure 18-3 Alternate Viewview up into Gothic vaulting of the ambulatory & radiatingchapels, 1140-44
Ribbed vaults were used extensively during the Gothic Period, as theyhelped achieve the key goals of Abbot Suger: height and light
According to Suger, greater height alluded more to heaven…worshippers should feel that they are above the muck of the earth, butnot quite in heaven…
•Pointed arches, rather than round arches, open up more space in thechurch interior, and create a greater sense of verticality
•The steeper slope of the pointed arch more directly transfers the weightfrom the roof to the piers than rounded arches… thus the pointed archreduced outward thrust on the walls, making it possible for architects tomake much, much higher, even soaring walls
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Figure 18-3 Alternate Viewview up into Gothic vaulting of the ambulatory & radiatingchapels, 1140-44
•Pointed arches and ribbed vaulting also opened up greater amountsof area for windows
•Abbot Suger believed that beautiful stain-glass windows filtersunlight and provide a multi-colored display of light in the church
•The light enhances the feeling of spirituality Suger sought in churchdesign
•The heavenly light prefigured the “New Jerusalem”, or heaven
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Figure 18-2 Plan of the east end, abbey church, Saint-Denis, France, 1140–1144 (afterSumner Crosby).
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Figure 18-4 Aerial view ofChartres Cathedral (from thenorthwest), Chartres,France, begun 1134; rebuiltafter 1194.
Flying Buttresses
•The flying buttress has become ahallmark of Gothic architecture
•A buttress is a support for a building tocounteract horizontal thrust
•A flying buttress has actual space or airbetween its vertical part and its horizontalarm, which makes contact with the side ofthe church
•They are located on the outside, not inside
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Early Gothic Period (Late 12th C)
•As French architects began to implement the ideas of Abbot Suger,some designs still retained Romanesque features, but specific changes tonave elevations and vaulting techniques marked the beginning of theGothic style
High Gothic Period (The 13th C)
•When the very famous, Chartres Cathedral was built
•Architects began to decrease the surface areas of the walls andincorporate more stained glass windows
•When a High Gothic church has a vast amount of windows, it is said tobe built in the Rayonnant, or radiant style
Late Gothic (Late 13th C, Early 14th C)
•Has vast amounts of pointed arches and extensive tracery on thebuilding’s exterior, like flames, in France, it is called Flamboyant style
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The Evolution of the Gothic Period
•As Gothic architecture evolved, churches contained largernumbers of windows and less wall surface area, and the exteriordecorations became more and more elaborate
• In England, High Gothic style is called the English Decoratedstyle, and Late Gothic style is known as the English Perpendicularstyle
•Pointed arches, ribbed vaults and extensive stained glasswindows were Gothic features that remained relatively consistentfrom country to country, but there were indeed regional, stylisticidiosyncrasies…
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Figure 18-4 Aerial view ofChartres Cathedral (from thenorthwest), Chartres,France, begun 1134; rebuiltafter 1194.
Chartres Cathedral
Built between theEarly and HighGothic periods
The original churchwas begun in theRomanesque style in1134, but it burntdown in the GreatFire of 1194, only thecrypt and a part ofthe western facade
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Western Façade, Chartres Cathedral,Chartres, France, begun 1134; rebuiltafter 1194.
Chartres Cathedral
Check out this westwork:one tower Gothic, one towerRomanesque
The rest of the building withits quadripartite ribbedvaults and numerousstained-glass windows isclearly Gothic
Art historians classifyChartres as High Gothic…
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Crypt, Chartres Cathedral,Chartres, France, begun1134; rebuilt after 1194.
Chartres Cathedral
The crypt is belowthe nave elevation,it is essentially avast basementbelow the church…
The purpose of the crypt was to house relics and bodies ofdeceased monks
The chief relic of Chartres was the Virgin’s veil, the head-covering Mary wore on the night of Christ’s birth… it survivedthe fire in the crypt… people saw this as a miracle…
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Figure 18-12 Interior of ChartresCathedral (view facing east), Chartres,France, begun 1194.
•Romanesque and Gothicchurches differ in their naveelevation, the space betweenthe floor and the vaulting…
•At the lowest level, a Gothicchurch has a nave arcade, justlike Romanesque churches
•It also includes a tribune, orgallery, above the nave arcadefor extra seating, similarly toRomanesque churches
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Figure 18-12 Interior of Chartres Cathedral (viewfacing east), Chartres, France, begun 1194.
•Gothic architects added a level abovethe gallery, or tribune, called atriforium, which is a band of arcadesbelow the highest window
•Like in Romanesque churches, thehighest row of windows is theclerestory
•Early Gothic nave elevation: navearcade, gallery, triforium andclerestory
•High Gothic elevation: (gets rid of thegallery and expands the triforium)nave arcade, triforium, clerestory
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Figure 18-5 Royal Portal, west facade, Chartres Cathedral, Chartres, France, ca. 1145–1155.
The entrance to Chartres at the western façade is famously knownas the Royal Portal…
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Figure 18-5 Alternate ViewTotal view of Royal Portal,West Facade
•The builders of Gothic churches usuallyoriented the structures toward the HolyLand in the East
•The alter and choir, which is specialseating for the priests, are on the easternside of the transept
•The name Royal Portal comes from the sculptures of the OldTestament kings and queens, the genealogical forerunners ofChrist, make up the doorjamb columns
•The Royal Portal is three portals in one and the theme of eachportal reflects the supremacy of Jesus Christ…
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The portal on theright depicts hisbirth andchildhood…
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The lefttympanumillustrates theResurrection andAscension ofChrist…
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The centraltympanum picturesthe Second Coming ofChrist at theApocalypse, passingfinal judgment onhumanity
Note the mandorlaand tetramorphs
The 12 apostles and 2 Old Testament prophets who foretold thecoming of Christ populate the lintel
The archivolts have worshipping elders… note the arches arepointed
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Figure 18-11 Plan of Chartres Cathedral,Chartres, France, as rebuilt after 1194 (after PaulFrankl).
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Figure 18-13 Virgin and Child and angels(Notre Dame de la Belle Verrière), window inthe choir of Chartres Cathedral, Chartres,France, ca. 1170, with 13th century side panels.Stained glass, 16’ X 7’ X 8”.
Stained-Glass at Chartres: DivineLight
Stained-glass was not a newartform, as Egyptians and Greeks,knew how to work colored glass,and we see stained-glass inchurches as ealy as the forthcentury
Nevertheless, it was during theGothic period that stained-glassbecame such an intricate form ofart that was both narrative anddecorative
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Figure 18-13 Virgin and Child and angels(Notre Dame de la Belle Verrière), window inthe choir of Chartres Cathedral, Chartres,France, ca. 1170, with 13th century side panels.Stained glass, 16’ X 7’ X 8”.
Stained-Glass at Chartres
•Chartres has 176 stained-glasswindows totaling approximately22,000 square feet (half a footballfield of glass…)
•Lux Nova: “new, heavenly light”that Abbot Suger wished for inchurch interiors
•Windows were meant to inspire thecongregation to contemplate thebeauty and hope of heaven
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Figure 18-13 DetailWindow 14 (ca 1170 inserted in a largerwindow of 13th c). Notre Dame de la BelleVerrière or Blue Virgin: 488 cm, upperportion w Blue Virgin
•Remember, the Virgin Mary isincredibly important to Chartres,as her veil was her most holy relic
•This window emphasizes hersignificance… it is also known asOur Lady of the BeautifulWindow…
•Nice crown…
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Figure 18-14 Rose window andlancets, north transept, ChartresCathedral, Chartres, France, ca. 1220.Stained glass, rose window approx. 43’in diameter.
The windows of Chatrescathedral were all paid for bypatrons, many of which wereroyalty… the windows wouldoften contain symbolism thatrefers to the patron
Patronage of churches wasanother way to guaranteeyour spot in heaven…
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Figure 18-6 Old Testament kings andqueens, jamb statues, central doorwayof Royal Portal, Chartres Cathedral,Chartres, France, ca. 1145–1155.
•The Royal Portal is calledsuch because of these jambstatues
•These kings and queens werethe “earthly predecessors” ofJesus Christ
•The figures are stiff andupright, conforming to thejambs
•They are all the same heightand lack naturalism
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Figure 18-6 Alternate ViewSaints from left jamb, central portal (west),braided lady, two male saints
•The folds flow vertically like thecolumns to which they areattached
•The formulaic folds resemble thefolds in the clothes of theRomanesque Morgan Madonna
•The figures lack contrapposto
•The figures express a limitedamount of individuality
Royal Portal Jamb Statues
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Figure 18-15 Saints Martin, Jerome, andGregory, jamb statues, Porch of theConfessors (right doorway), south transept,Chartres Cathedral, Chartres, France, ca.1220–1230.
•Following the trend set in theRomanesque period, Gothicsculpture evolved towardsgreater degrees of naturalism
•The shape of early Gothicsculptures reflected thearchitecture to which it wasattached
•As the Gothic period advanced,the sculpture become moreindependent of the surroundingarchitecture
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Figure 18-15 Saints Martin, Jerome, andGregory, jamb statues, Porch of the Confessors(right doorway), south transept, ChartresCathedral, Chartres, France, ca. 1220–1230.
•The High Gothic jamb statuesat the South Portal of Chartresare still attached to the jambs,but they are more distinctive andindividualized
•Saint Martin (left) is a tall,intense priest with gauntfeatures
•Saint Jerome (center) is a kindlyscholar holding his translation ofthe Bible
•Saint Gregory (right) iscontemplating the Holy Spirit(dove)
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Figure 18-15 Saints Martin, Jerome, andGregory, jamb statues, Porch of the Confessors(right doorway), south transept, ChartresCathedral, Chartres, France, ca. 1220–1230.
•Their height, gestures andclothing vary to reflect theirpersonalities
•The statues physically extendfurther from the building than inearly Gothic jamb sculpture
•The figures do not conform tothe supports as strictly as on theWestern Portal
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Figure 18-16 Saint Theodore, jamb statue, Porch ofthe Martyrs (left doorway), south transept, ChartresCathedral, Chartres, France, ca. 1230.
High Gothic jamb statue
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Figure 18-16 Alternate ViewS Transept, left portal, left jamb: Sts. Theodore, Stephen& Clement
© 2005 Saskia Cultural Documentation, Ltd.
High Gothic jamb statue
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High Gothic jamb statues
Early Gothic jamb sculpture
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High Gothic jamb statues
Jamb sculptures of the Reims Cathedral in France…
Annunciation (left) and Visitation (right)
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High Gothic jamb statues
Annunciation (left) and Visitation (right)
The stylistic differencein the sets indicatesproduction at differentworkshops
The Mary and Elizabethof the Visitation sceneare almost completelyfree from the jamb
Mary and Elizabeth do so much more than merely decorate adoorway, they are acting out a biblical story
Figure 18-22 Visitation, jamb statues of central doorway, west facade, Reims Cathedral,Reims, France, ca. 1230.
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Figure 18-22 Visitation, jamb statues ofcentral doorway, west facade, ReimsCathedral, Reims, France, ca. 1230.
Note the knowledge in weightshift similar to classicalcontrapposto
The figures turn toward eachother and are communicatingwith gestures
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Figure 18-20 Christ (Beau Dieu), trumeau statueof central doorway, west facade, Amiens Cathedral,Amiens, France, ca. 1220–1235.
High Gothic Trumeau Sculpture
Beau Dieu = Beautiful G-d
His facial expression, hand gesture and draperyfolds give Christ human qualities
He is almost free of the trumeau, except for thepedestal and canopy
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Figure 18-20 Alternate ViewTrumeau sculpture of Christ, "le beauDieu" from central portal, ca. 1220-35
The message says Christ is a kindteacher
The art of the Gothic period tendsto be a little more uplifting thanheavier, Romanesque art
High Gothic Sculpture
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Figure 18-24 Virgin and Child (Virginof Paris), Notre-Dame, Paris, France,early fourteenth century.
Late Gothic Sculpture
•By the late Gothic period weightshift becomes so extreme an S-curveis created
•The great Greek sculptor Praxitelescreated human figures with S-curves, showing his understandingof anatomy and contrapposto
•In contrast, the S-curves of LateGothic sculpture feels forced---likethere is a desire for naturalism, butthe human body still must remainobscure to be righteous…
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Figure 18-24 Virgin and Child (Virginof Paris), Notre-Dame, Paris, France,early fourteenth century.
Her upper body shifts to the rightas she supports the weight of theyoung Christ over her left hip
The folds in her robes are highlydeveloped, but they do not reflectthe natural structure of Mary’sbody
The S-curve is exaggerated andunnaturalistic
This was the convention for VirginMary statues of the time…
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Figure 18-35 Virgin of Jeanned’Evreux, from the abbey church ofSaint-Denis, France, 1339. Silver giltand enamel, 2’ 3 1/2” high. Louvre,Paris.
Late Gothic Sculpture
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Late Gothic Sculpture
High Gothic Sculpture
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Late GothicSculpture
High GothicSculpture
Early GothicSculpture
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Figure 18-49 Ekkehard and Uta, statues inthe west choir, Naumburg Cathedral,Naumburg, Germany, ca. 1249–1255. Paintedlimestone, approx. 6’ 2” high.
German Gothic Sculpture
German Gothic sculpture is known fordepicting emotional scenes and humanqualities
It is quite independent from the architecture
They tend to be in high relief and in theround, usually only attached with a pedestaland canopy
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Figure 18-50 Equestrian portrait(Bamberg Rider), statue in theeast choir, Bamberg Cathedral,Germany, ca. 1235–1240.Sandstone, 7’ 9” high.
German Gothic Sculpture
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Figure 18-51 Virgin with the DeadChrist (Röttgen Pietà), from theRhineland, Germany, ca. 1300–1325.Painted wood, 2’ 10 1/2” high.Rheinisches Landemuseum, Bonn.
German Gothic Sculpture
Not particularly naturalistic,but extremely emotional
“The Rottgen Pieta” pietameans pity in Italian
Suffering is accentuated
Meant to evoke great emotionin the viewer---reconcile withyour sins…
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Figure 18-48 Death of the Virgin, tympanum of left doorway, south transept, StrasbourgCathedral, Strasbourg, France, ca. 1230.
German Gothic Sculpture way, way emotional, high drama
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Figure 18-23 Interior of the upper chapel,Sainte-Chapelle, Paris, France, 1243–1248.
Sainte-Chapelle and theRayonnant Style
Sainte Chapelle is a small cathedralin Paris commissioned by KingLouis IX to hold his collection ofprecious relics
Crown of Thorns, the lance thatpierced Christ’s side, part of theTrue cross and a nail from thecrucifixion
Louis IX was known for his pietyand devotion to Christianity
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Figure 18-23 Interior of the upper chapel,Sainte-Chapelle, Paris, France, 1243–1248.
Sainte-Chapelle and theRayonnant Style
Louis IX died in the 8th Crusade,making him a martyr for Christianity
He was later canonized by the churchand considered an ideal MedievalKing
Sainte-Chapelle, itself, can beconsidered a giant reliquary
It was also his private chapel that wasconnected to the royal palace
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Figure 18-23 Interior of the upper chapel,Sainte-Chapelle, Paris, France, 1243–1248.
Sainte-Chapelle and theRayonnant Style
It was divided into an upper andlower areas, with only royalty andhigh priest being allowed on theupper level
3/4s of the surface area is glass
The remaining wall surfaces arecovered in tracery, they seem as finesinews holding the windows in place
Considered one of the most beautifulGothic cathedrals in Europe
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Figure 18-37SalisburyCathedral,Salisbury,England, 1220–1258; west facadecompleted 1265;spire ca. 1320–1330.
Early EnglishGothic: TheDecorated Style
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Figure 18-38 Plan of Salisbury Cathedral, Salisbury, England, 1220–1258.
Early EnglishGothic: TheDecorated Style
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Figure 18-37 Alternate ViewWest Facade
Early English Gothic: TheDecorated Style
During this time, Gothic art wascalled opus francigeno, or workin the French style
Wherever the style went, it heldonto basic Gothic features likepointed arches and stained-glasswindows, but different regionsdid adapt the style to fit theircultures
English is categorized in 2 parts:
(early) Decorated and (late)Perpendicular
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Figure 18-39 Interior of SalisburyCathedral (view facing east), Salisbury,England, 1220–1258.
Early English Gothic: TheDecorated Style
The hallmark of the Decoratedstyle is ornate decoration ofarchitectural elements
Often added extra ribs to thevaulting, making some churchceilings look like spider webs
Salisbury is Decorated Style
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Figure 18-40 Choir of GloucesterCathedral (view facing east),Gloucester, England, 1332–1357.
Late English Gothic Style: ThePerpendicular Style
Perpendicular style is so namedbecause of its emphasis onverticality
Windows are taller, note thelarge window in the choir, thetall lancets visually unite thechoir from floor to ceiling
Fan vaults, a collection ofribbed vaults that meet andproject downward from theceiling like stalactites
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Figure 18-42 Tomb of Edward II,Gloucester Cathedral, Gloucester,England, ca. 1330–1335.
Late English Gothic Style: ThePerpendicular Style
Chronologically you cancompare English PerpendicularStyle with French FlmboyantStyle because they both haveexaggerated decorativeelements…
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Figure 18-40 Alternate ViewView upward into the complex perpendicular vaulting of the choir (1337-51)
Late English Gothic Style: ThePerpendicular Style
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Figure 18-25 West facade of Saint-Maclou,Rouen, France, ca. 1500–1514.
Flamboyant Style
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Figure 18-25 West facade of Saint-Maclou,Rouen, France, ca. 1500–1514.
Flamboyant Style
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Comparing English and French Gothic Styles
In comparing French and English Gothic styles, you will notice thestonework on English cathedrals to feel heavier and more squat
This shows the lingering predilection for Romanesque style, whichwas called Norman style in England
Gothic style spread, but was amalgamated with local tastes
French Gothic has much more of a vertical emphasis
The Salisbury Cathedral in England was much longer than FrenchGothic churches, and since the walls are not as tall, it did not requireflying buttresses
Salisbury also has a square apse and a double transept
Salisbury is in the country, not city, which can also explain its form
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Figure 18-9 Nave elevations of four French Gothic cathedrals at the samescale (after Louis Grodecki):(a) Laon (Early), (b) Paris (Ealy-High), (c) Chartres (High), (d) AmiensHigh).
French Gothic
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Figure 18-8 Interior of LaonCathedral (view facingnortheast), Laon, France,begun ca. 1190.
French Early Gothic
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Figure 18-8 Alternate ViewGeneral view of Nave and Choir (wrectangular E end) seen from W
French Early Gothic
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Figure 18-7 West facade ofLaon Cathedral, Laon, France,begun ca. 1190.
French Early Gothic
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Figure 18-10 Notre-Dame (view from the south), Paris, France, begun 1163; nave andflying buttresses, ca. 1180–1200; remodeled after 1225.
French Early and High Gothic
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Figure 18-10 Alternate ViewGeneral view from S
© 2005 Saskia Cultural Documentation, Ltd.
French Early and High Gothic
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Figure 18-10 Alternate ViewGeneral view of choir with flying buttresses
© 2005 Saskia Cultural Documentation, Ltd.
French Early and High Gothic
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Figure 18-10 Alternate ViewGeneral view from S with rose windowand chapter house
© 2005 Saskia Cultural Documentation, Ltd.
French Early and High Gothic
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Figure 18-17 ROBERT DELUZARCHES, THOMAS DECORMONT, and RENAUD DECORMONT, interior of Amiens Cathedral(view facing east), Amiens, France, begun1220.
French High Gothic Style
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Figure 18-18 Robert deLuzarches, Thomas de Cormont,and Renaud de Cormont, vaults,clerestory, and triforium of thechoir of Amiens Cathedral,Amiens, France, begun 1220.
French High Gothic Style
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Figure 18-18 Alternate ViewInterior: ribbed vaults of crossing andchoir, view upwards
© 2005 Saskia Cultural Documentation, Ltd.
French High Gothic Style
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Figure 18-19 ROBERT DELUZARCHES, THOMAS DECORMONT, and RENAUD DECORMONT, west facade of AmiensCathedral, Amiens, France, begun1220.
French High Gothic Style
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Figure 18-21 West facade of ReimsCathedral, Reims, France, ca. 1225–1290.
French High Gothic Style
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Figure 18-26 Aerial view of the fortified town of Carcassonne, France. Bastions and towers, 12th–13th centuries, restored byEugène Viollet-le-Duc in the 19th century.
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Figure 18-27 Hall of the cloth guild, Bruges, Netherlands,begun 1230.
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Figure 18-28 House of Jacques Coeur, Bourges,France, 1443–1451.
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Figure 18-31 Blanche of Castile,Louis IX, and two monks,dedication page (folio 8 recto) of amoralized Bible, from Paris, France,1226–1234. Ink, tempera, and goldleaf on vellum, 1’ 3” X 10 1/2”.Pierpont Morgan Library, NewYork.
Gothic Manuscript Illumination
Moralizing Bibles: paired anOld Testament story on onepage to a New Testament storyon the next page
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Figure 18-32 Abraham and the threeangels, folio 7 verso of the Psalter ofSaint Louis, from Paris, France, 1253–1270. Ink, tempera, and gold leaf onvellum, 5” X 3 1/2”. BibliothèqueNationale, Paris.
Psalter: the book of Psalms
Gothic ManuscriptIllumination
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Figure 18-33 MASTER HONORÉ, David anointed bySamuel and battle of David and Goliath, folio 7 verso of theBreviary of Philippe le Bel, from Paris, France, 1296. Ink andtempera on vellum, 7 7/8” X 4 7/8”. Bibliothèque Nationale,Paris.
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Figure 18-34 JEAN PUCELLE, David before Saul, folio24 verso of the Belleville Breviary, from Paris, France, ca.1325. Ink and tempera on vellum, 9 1/2” X 6 3/4”.Bibliothèque Nationale, Paris.
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Figure 18-41 ROBERT and WILLIAM VERTUE,Chapel of Henry VII, Westminster Abbey, London,England, 1503–1519.
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Figure 18-44 Gerhard of Cologne, aerial view of Cologne Cathedral (from the south), Cologne, Germany, begun 1248;nave, facade, and towers completed 1880.
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Figure 18-45 GERHARD OFCOLOGNE, Choir of Cologne Cathedral(view facing east), Cologne, Germany,completed 1322.
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Figure 18-47 Interior of SaintElizabeth (view facing west),Marburg, Germany, 1235–1283.
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Figure 18-52 NICHOLAS OF VERDUN, the Klosterneuburg Altar, from the abbey church at Klosterneuburg, Austria,1181. Gilded copper and enamel, 3’ 6 3/4” high. Stiftsmuseum, Klosterneuburg.
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Figure 18-53 NICHOLAS OF VERDUN,Sacrifice of Isaac, detail of the KlosterneuburgAltar, from the abbey church atKlosterneuburg, Austria, 1181. Gilded copperand enamel, 5 1/2” high. Stiftsmuseum,Klosterneuburg.
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Figure 18-54 NICHOLAS OF VERDUN, Shrine of the Three Kings, from Cologne Cathedral, Cologne, Germany,begun ca. 1190. Silver, bronze, enamel, and gemstones, 5’ 8” X 6’ X 3’ 8”. Cathedral Treasury, Cologne.
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Figure 18-55 LORENZO MAITANI, westfacade of Orvieto Cathedral, Orvieto, Italy,begun 1310.
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Figure 18-56 Doge’s Palace, Venice, Italy, begun ca. 1340–1345; expanded and remodeled, 1424–1438.
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Figure 18-57 Milan Cathedral (view from the southwest), Milan, Italy, begun 1386.
