Early Gothic Art

Transcript

1. Early  Gothic  Art  
   Reading:  
   Stokstad,  494-­‐506  
    
   Range:  
   1100-­‐1300  
   Early  Gothic  
    
   Key  Terms/Concepts:  
   gothic,  tapestry,  embroidery,  ribs,  
   groin  vault,  barrel  vault,  pier  
   buAress,  flying  buAress,  
   scholasCcism,  jambs,  sedes  
   sapienCae,  seven  liberal  arts,  tree  
   of  Jesse,    
   Monument  List:  
     16-­‐30,  The  Bayeux  Embroidery,  
   Bayeux,  France,  Romanesque,  
   1070-­‐1080.  
     17-­‐2,  Ambulatory  and  RadiaCng  
   Chapels,  St.  Denis,  Paris,  France,  
   Gothic,  1140-­‐1144.  
     17-­‐4,  West  Façade,  Chartres  
   Cathedral,  Gothic,  1134-­‐1260.  
     17-­‐6,  Jambs,  Royal  Portal  West  
   Façade,  Chartres  Cathedral,  
   Gothic,  1145-­‐1155.  
    
   

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2. Reminders  
   •  Your  Image  and  Text  essay  is  due  THIS  
   Thursday  May  2nd.  
   •  The  final  exam  is  Tuesday  May  14th  8:00-­‐10:00  
   in  Starz  12.  
   •  Study  Guide  will  be  posted  by  this  Thursday!  
   

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5. William  invades  England  in  1066  
   

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9. Plan  
   

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10. Statue  of  St.  Denis,  
    Notre  Dame  of  Paris,    
    

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11. “Delight  in  the  beauty  of  the  house  of  
    God…call  him  away  from  external  
    cares…dwelling  in  some  strange  region  
    of  the  universe  which  neither  exists  
    enCrely  in  the  slime  of  the  earth  nor  
    enCrely  in  the  purity  of  heaven…
    transported  from  this  inferior  to  that  
    higher  world.”    
    “We  profess  that  we  must  do  homage  
    through  the  outward  ornaments  of  
    sacred  vessels,  and  to  nothing  in  the  
    world  in  an  equal  degree  to  the  service  
    of  the  Holy  Sacrifice,  with  all  inner  
    purity  and  with  all  outward  splendor.”  
    

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12. “Money  is  won  with  such  skill  that  it  may  be  
    mulCplied.    It  is  expended  so  that  it  may  be  
    increased,  and  pouring  it  out  produces  
    abundance.    The  Reason  is  that  the  very  sight  
    of  these  costly  but  wonderful  illusions  inflames  
    the  men  more  to  give  than  to  pray.”  
    “To  me  [golden  images]  somehow  represent  
    the  ancient  rite  of  the  Jews…  Or  is  it  that  since  
    we  have  been  mingled  with  the  genCles,  
    perhaps  we  have  also  adopted  their  ways  and  
    even  serve  their  idols.”  
    “O  vanity  of  vaniCes,  but  no  more  vain  than  
    insane!    The  Church  is  radiant  in  its  walls  and  
    desCtute  in  its  poor.    It  dresses  its  stones  in  
    gold  and  it  abandons  its  children  naked.    It  
    serves  the  eyes  of  the  rich  at  the  expense  of  
    the  poor.    The  curious  find  that  which  may  
    delight  them,  but  those  in  need  do  not  find  
    that  which  should  sustain  them.”  
    

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17. “And  what  of  the  sun’s  rays?    Light  comes  from  the  good,  and  light  is  an  
    image  of  this  archetypal  Good.    Thus  the  Good  is  also  by  the  name  
    “Light,”  just  as  an  archetype  is  real  in  its  image.    The  goodness  of  the  
    transcendent  God  reaches  from  the  highest  and  most  perfect  forms  of  
    being  to  the  very  lowest.    And  yet  it  remains  above  and  beyond  them  all,  
    superior  to  the  highest  and  yet  stretching  out  to  the  lowliest.    It  gives  
    light  to  everything  capable  of  receiving  it,  it  creates  them,  keeps  them  
    alive,  preserves  and  perfects  them.    Everything  looks  to  it  for  measure,  
    eternity,  number,  order.    It  is  the  power,  which  embraces  the  universe.    
    It  is  the  Cause  of  the  universe  and  its  end.”  –Pseudo  Dionysus    
    

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18. “Elegant  and  praiseworthy  
    extension  in  [the  form  of]  a  
    circular  string  of  chapels,  by  
    virtue  of  which  the  whole  
    [church]  would  shine  with  the  
    wonderful  and  uninterrupted  
    light  of  most  sacred  windows,  
    pervading  in  the  interior  
    beauty.”—Abbot  Suger  
    

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19. Romanesque  vs.  Gothic  VaulCng  
    

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20. Romanesque  vs.  Gothic  VaulCng  
    Ribs  
    

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23. Jesse  
    

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24. Jesse  
    “Then  a  shoot  will  spring  from  the  stem  
    of  Jesse,  And  a  branch  from  his  roots  
    will  bear  fruit.”    
    Isaiah  11:1    
    

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25. David  
    

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26. King  
    

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27. King  
    

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28. Virgin  
    

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29. Christ  
    The  naCons  will  resort  to  the  root  of  Jesse,  
    Who  will  stand  as  a  signal  for  the  peoples;  
    And  His  resCng  place  will  be  glorious.    
    

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30. Christ  
    Doves  =    
    Giqs  of  the  Holy  Spirit   The  Spirit  of  the  LORD  will  rest  on  Him,  
    The  spirit  of  wisdom  and  understanding,  
    The  spirit  of  counsel  and  strength,  
    The  spirit  of  knowledge  and  the  fear  of  the  LORD.    
    

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34. Jesse  
    Christ  
    

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37. Notre  Dame  =  “Our  Lady”  (the  Virgin  Mary)  –  
    All  churches  dedicated  to  Mary  have  this  
    name.  
    Flying  BuAresses  
    

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46. NaCvity  
    PresentaCon  at  the  Temple  
    Sede  SapienCae  =  Throne  of  Wisdom  
    

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47. Seven  Liberal  Arts  
    

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48. Rhetoric   Grammar   Music  
    

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49. Aristotle   Pythagoras  
    ScholasCcism  =  the  synthesis  of  classical  philosophy  and  
    ChrisCan  theology  
    

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51. Ascension  
    

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54. Notre  Dame  de  la  Belle  Verrière  =  Our  Lady  of  
    the  BeauKful  Window  
    

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58. CriCcal  Thinking  QuesCons  
    1.  Both  Gothic  and  Romanesque  art  evoke  an  emoConal  
    response  from  the  viewer.    How  is  that  response  
    different?    How  is  it  achieved  differently?  
    2.  What  are  some  of  the  key  differences  between  
    Romanesque  and  Gothic  churches?      What  adaptaCons  
    did  Gothic  architects  have  to  make  to  accommodate  
    those  differences?  
    3.  What  is  the  debate  between  Bernard  of  Clairvaux  and  
    Abbot  Suger?    How  does  impact  how  churches  are  built  
    and  decorated?  
    4.  How  is  the  use  of  stained  glass  related  to  the  use  of  
    golden  mosaics  in  Late  AnCque  and  ByzanCne  
    Churches?  
    

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