Rottgen Pieta, Bonn, Germany
1300, wood.
Christ emaciated, drained of all blood. Horror. Humanizing.
Rottgen Pieta, Bonn, Germany
1300, wood.
Christ emaciated, drained of all blood. Horror. Humanizing.
Ekkehard and Uta, Naumberg Cathedral, Germany
1249.
Done for a fund raising activity. Bodies revealed beneath drapery. Realistic looking faces, personality. Paint still remains.
Death of the Virgin, Strasbourg Cathedral
1230.
Large heads, deeply chiseled figures (high relief), Mary dies in her sleep, Christ receives her soul. Wide range of emotion.
Visitation, Reims Cathedral
1230.
Classical influence in drapery. Contrapposto. Heads look Roman. Mary announces her pregnancy. Columns are behind.
ARNOLFO DI CAMBIO, Florence Cathedral, Italy.
1296.
Giotto designed the campanile. Wide, open. Heavy piers allow side aisles to flow into nave. Lighter interior. Facade finished in 19th century.
Beauvais Cathedral
This cathedral was a product of the Gothic artist’s desire to build taller and taller. It was too tall and with the wind power at that height, part of the cathedral fell. This marked the time when Gothic artists stopped aiming for verticality.
Saint Maclou, Rouen, France
1500.
Late gothic, flamboyant. Five portals (two are blind). Gables over portals.
Saint Chapelle: Paris.
1243.
Rayonnant (more focus on two dimensional surfaces and decoration). Slender, lots of glass. Built to house sacred artifacts collected by Louis IX. Adjoins Royal Palace.
Salisbury Cathedral, England.
1220.
Wide facade, sculpture EVERYWHERE. two transepts. Square apse. Horizontal emphasis (spire was added in 19th century).
LUZARCHES, CORMONT and CORMONT: Amiens Cathedral
1220.
High Gothic, four part rib vaults. Extremely tall. More windows. Sculptures above the doors in the arches. Narrowing of nave enhances verticality.
