chapter 13-14 test

saint francis altarpiece

bonaventura berlinghieri, san francesco, pescia, italy, 1235 description: painted altarpiece of san franceso medium/materials: tempera on wood size/scale: 5' x 3' subjects: saint francis as franciscan monk, flanked by angels stylistic features: lack of modeling, flat, spiritual function and significance: importance of religious order, earliest representation of francis berlinghieri painted this altarpiee in the italo-byzantine style, or maniera greca, for the mendicant (begging) order of franciscans. it is the earliest securely dated portrayal of saint francis of assisi

giotto, lamentation from the arena chapel, 1305-1306, fresco, padua, italy

description: individual responses to jesus's death, strong diagonal rhythmic composition medium/materials: fresco size/scale: 6' 6 3/4" x 6' 3/4" subject: lamentation of christ broad spectrum of grief, focal point in lower left significance: spatial depth, off center composition, direction of light giotto was a pioneer in pursuing a naturalistic approach to representing figures in space. in lamentation, set in a landscape, he revived the classical tradition of depicting some figures from the rear giotto painted lamentation in several sections, each corresponding to one painting session, or giornata. artist employing the buon fresco technique must complete each section before the plaster dries lamentation shows scenes of jesus's followers mourning his death: usually scene contains mary, saint john, and mary magdalene st. john throws his head back; mary magdalene cradles jesus's feet; mary holds jesus's head at left is the old testament scene of jonah being swallowed by the whale and returning to life; parallel with new testament scene of christ dying and rising from the dead shallow stage, figures occupy a palpable space pushed forward toward the picture plane diagonal cliff formation points to main action daringly placed in lower left-hand corner modeling indicates direction of light, light falls from above right range of emotions: heavy sadness, quiet resignation, flaming outbursts, despair sadness of scene emphasized by grieving angels, barrenness of tree figures on the lower left are seen from the back and isolate the main action clear foreground, middle ground, and background

interior of the arena chapel

giotto de bondone, padua, italy, 1305-1306 description: 38 framed panels with religious scenes architectural features: rectangular hall, six windows arrangement and location of murals: all around, perfectly fits interior

pulpit of the baptistery

nicola pisano, pisa, italy, 1259-1260, marble, 15' high description: classical design of pulpit medium/materials: marble size/scale: 15' high stylistic features: trefoil arches, columns, corinthian capitals, round arches, relief function and significance: similar to roman sarcophagi the pisa baptistery pulpit by niola pisano (nicholas of pisa) retains many medieval features-for example, trefoil arches-but many of the figures derive from ancient roman relief sculptures

rose window and lancets

north transept, chartres cathedral, chartres, france, ca. 1220 materials: stained glass size/scale: 43' in diameter subjects: yellow castles and fleur de lis, enthroned virgin and child, doves, angels stylistic features: ancestors of christ, narrative scenes function and significance: structural integrity, change in hue throughout day immense stained-glass rose and lancet windows, held in place by an intricate armature of bar tracery, fill almost the entire facade wall of the high gothic north transept of chartres cathedral

fan vaults of the chapel of henry viii

robert and william vertue, westminster abbey, london, england, 1503-1519 description: chapel ceiling with fan vaults and pendants function and significance: gothic architecture resembling stalactites, like flamboyant

vaults clerestory and triforium of the choir of amiens cathedral

robert de luzarches, thomas de cormont, and renaud de cormont, amiens, france, begun 1220 description: choir vaults, resemble a canopy architectural features: complex lancet windows significance: immense light the amiens choir vaults resemble a canopy on bundled masts. the light entering from the clerestory and triforium creates a buoyant lightness not normally associated with stone architecture

interior of amiens cathedral (looking east)

robert de luzarches, thomas de cormont, and renaud de cormont, amiens, france, begun 1220 description: slender proportions, tall nave architectural features: rectangular nave bays, four part rib vault, external buttresses significance: quest for height, strength the concept of a self-sustaining skeletal architecture reached full maturity at amiens cathedral. the four-part vaults on pointed arches rise an astounding 144 feet above the nave floor

west facade of saint-maclou

rouen, france, ca. 1500-1514 description and style: flamboyant style facade architectural features: five portals form convex art, decorative webs function and significance: complex structural lines, height of flamboyant style saint-maclou is the masterpiece of late gothic flamboyant architecture its ornate tracery of curves and countercurves forms brittle decorative webs masking the building's structure

west facade

saint-denis, 1135-1140 description and signifiance: left tower is missing, sculptured portals

interior of salisbury cathedral (looking east)

salisbury, england, 1220-1258 description: horizontal emphasis from corbels in triforium, rich color contrast architectural features and location on plan: three-story elevation, pointed arches, four part rib vaults, compound pier, triforium tracery function and significance: no springing, not french gothic

aerial view of sailsbury cathedral (looking northeast)

salisbury, england, 1220-1258; west facade completed 1265; spire ca. 1320-1330 description: long church, emphasis on tower architectural features: emphasis on crossing tower, less flying buttresses, rectilinear plan function and significance: contrasts french gothic

palazzo pubblico

siena, italy, 1288-1309 description: siena's city hall architectural features: slightly concave facade, large tower significance: center of sienese government siena's palazzo pubblico has a concave facade and a gigantic tower visible for miles around. the tower served as both a defensive lookout over the countryside and a symbol of the city-state's power

annunciation altarpiece

simone martini and lippo memmi, from siena cathedral, 1333 (frame reconstructed in the 19th century) medium/materials: tempera and gold leaf on wood size/scale: center panel 10' 8" x 8' 8 3/4" description and subject: annunciation, gabriel just arrived, vase of white lilies stylistic features: radiant colors, fluttering lines, weightless elongated figures, spaceless setting, intricate tracery frame significance: created international gothic style a pupil of duccio's, simone martini was instrumental to the creation of the international gothic style. its hallmarks are radiant colors, flowing lines, and weightless figures in golden, spaceless settings

death of the virgin

tympanum of the left doorway of the south transept, strasbourg cathedral, strasbourg, france, ca. 1230 description: tympanum with dying virgin surrounded by 12 apostles stylistic features: semicircular arrangement, flowing and dramatic drapery function and significance: humanized, naturalistic, passionate biblical scene stylistically akin to the visitation statues of reims cathedral, the figures in strasbourg's south-transept tympanum express profound sorrow through dramatic poses and gestures

west facade of amiens cathedral

robert de luzarches, thomas de cormont, and renaud de cormont, amiens, france, begun 1220 description: highly decorated facade architectural features: colonnettes, arches, pinnacles, rosettes, uneven towers function and significance: solid core seems dissolved the deep piercing of the amiens facade left few surfaces for decoration, but sculptors covered the remaining ones with colonnettes, pinnacles, and rosettes that nearly dissolve the structure's masonry

interior of the upper chapel (looking northeast)

saint-chapelle, paris, france, 1243-1248 description: rayonnant style, chapel full of windows architectural features: reduction of bulk, enormous stained-glass windows function and significance: largest stained-glass windows at louis ix's sainte-chapelle, the architect succeeded in dissolving the walls to such an extend that 6450 square feet of stained glass account for more than three-quarters of the rayonnant gothic structure

plan of salisbury cathedral

salisbury, england, 1220-1258 description: rectilinear plan architectural features: square eastern end, double transept function and significance: cicstercian english church style

sala della pace

siena, 1338-1339 description and significance: hall of peace, in palazzo pubblico, room of sienese affairs

notre dame de la belle verriere

"our lady of the beautiful window" c. 1170, stained glass, chartres cathedral materials: stained glass subject: mary enthroned, jesus on her lap, dove above her, red background stylistic features: framing angels with blue background this stained-glass window miraculously survived the devastating chartres fire of 1194. it has an armature of iron bands forming a grid over the entire design, an early gothic characteristic mary is crowned as queen of heaven with the christ child in her lap light as a manifestation of the divine; shades color patterns across the grey stone of the cathedral part of a lancet window undamaged by the fire of 1194; reset with framing angels on either side of the main scene bands across the surface are typical of early gothic stained glass

porch of the confessors

chartres, ca. 1220-1230 description: statues of the saints on the portal jambs, architecture does not determine position subjects and significance: saints as ideal christian knights

ambulatory and radiating chapels (looking northeast)

abbey church, saint-denis, france, 1140-1144 description: colored light through stained glass windows, "lux nova" arhictectural features: covered by rib vaults, pointed-arch function and significance: departure from romanesque abbot suger's remodeling of saint-denis marked the beginning of gothic architecture. rib vaults with poined arches spring from slender columns. stained-glass windows admit lux nova

plan of the east end

abbey church, saint-denis, france, 1140-1144 (after sumner crosby) description: conforms to crypt below architectural features and location on plan: radiating chapels the innovative plan of the east ed of saint-denis dates to abbot suger's lifetime. by using very light rib vaults, the builders were able to eliminate the walls between the radiating chapels

peaceful country

ambrogio lorenzetti, detail from effects of good government in the city and in the country, east wall, sala della pace, palazzo pubblico, siena, italy, 1338-1339 medium/materials: fresco description and subject: sienese countryside, villas, castles, farmland, peasants, personification of security promising safety to the lawful stylistic features: landscape significance: example of pure landscape, first in western art since antiquity this sweeping view of the countryside is one of the first instances of pure landscape painting in western art since antiquity. the winged figure of security promises safety to all who live under sienese law

peaceful city

ambrogio lorenzetti, detail from effects of good government in the city and in the country, east wall, sala della pace, palazzo pubblico, siena, itlay, 1338-1339 medium/materials: fresco description and subject: panoramic view of siena, peaceful traffic, happy people stylistic features: ancient roman mural townscape, perspective significance: allegory of peaceful government, reminder for rulers in the hall of peace of siena's city hall, ambrogio lorenzetti painted an illusionistic panorama of a bustling 14th century city. the fresco is an allegory of good government in the sienese republic

Cutaway view of a typical French Gothic cathedral

architectural features: pinnacle, flying buttresses, vaulting web, diagonal rib, transverse ribs, springing, clerestory, oculus, lancet, triforium, nave arcade, compound pier with shafts the major elements of the gothic formula for constructing a church in the opus modernum style were rib vaults with pointed arches, flying buttresses, and stained-glass windows

arena (scrovegni) chapel, c. 1303, brick, padua, italy

arena chapel built over an ancient roman arena, hence the name also called the scrovegni chapel after the name of the patron, enrico scrovegni built to expiate the sin of usury through which scrovegni's fater amassed a fortune some narrative scenes illustrate biblical episodes of ill-gotten gains

hall of the cloth guild

bruges, belgium, begun 1230 description: guild hall of clothmakers architectural features: watch towers, lancet windows, flying buttresses, pinnacles function and significance: shows importance of artisans and merchants, combines military and ecclesiastical style the bruges cloth guild's meeting hall is an early example of a new type of secular architecture in the late middle ages. its lofty tower competed for attention with the towers of the cathedral

madonna enthroned with angels and prophets

cimabue, from santa trinita, florence, ca. 1280-1290 description: virgin enthroned on an altarpiece, surrounded by religious figures medium/materials: tempera and gold leaf on wood size/scale: 12' 7" x 7' 4" subjects: enthroned mary surrounded by angels and prophets stylistic features: gold background, three-dimensional drapery, deeper space, overlapping bodies function and significance: breaking out of italo-byzantine cimabue was one o the first artists to break away from the maniera greca. although he relied on byzantine models, cimabue depicted the madonna's massive throne as receding into space

chartres cathedral, c. 1145-1155, later additions, limestone, and stained glass, chartres, france

description: entrance of church, royal portal is here architectural features: rose window, two towers significance: jamb statues the early gothic west facade was all that remained of chartres cathedral after the 1194 fire. the design still has much in common with romanesque facades. the rose window is an example of plate tracery. started in 1145; fire in 1194 forced reconstruction of everything except the facade dedicated to mary; a marian shrine mary's tunic worn at jesus' birth is most sacred relic; it escaped the fire and was seen as signal to rebuild cathedral right spire is from 1160; let spire is late gothic from 1507-1513-conceived in a different style: more elaborate and decorative importance of church represented in speed of construction: 26 years enlarged chevet accommodated elaborate church ceremonies tall vertical nature of the interior pulls the viewer's eyes up to the ceiling and symbolically to heaven dark, mysterious interior increases spiritual feeling stained glass enlivens the interior surfaces of the church

royal portals, 1145-1155, limestone, chartres cathedral, chartres, france

description: religious and secular imagery sculptural subjects: kings and queens flank doorway, seven female personifications of the liberal arts stylistic features: features mary, gentle portrayal of her the sculptures of the royal portal proclaim the majesty and power of christ. the tympana depict, from left to right, christ's ascension, the second coming, and the infant jesus in the lap of the virgin mary so-called royal portals because the jamb sculptures depict kings and queens from old testament; connection made between french and biblical royalty portals used by church hierarchy, not commoners originally 24 statues, 19 survive jamb statues stand in front of the wall, almost fully rounded; cf. romanesque figures which are flat against the surface upright, rigid, elongated figures reflect the vertical columns behind, and the vertical nature of the cathedral itself rich courtly dress with vertical folds robes are almost hypnotic in their concentric composition, cf. romanesque nervous excitement to drapery

betrayal of jesus

duccio de buoninsegna, panel on the back of the maesta altarpiece, from siena cathedral, siena, italy, 1308-1311 medium/materials: tempera and gold leaf on wood size/scale: 1' 10 1/2" x 3' 4" description and subject: disciples fleeing, angry peter, evil judas stylistic features: bodies have mass, variety of emotions significance: humanization of religious subjects in this dramatic depiction of judas's betrayal of jesus, the actors display a variety of individual emotions. duccio here took a decisive step toward the humanization of religious subject matter

life of jesus

duccio di buoninsegna, 14 panels from the back of the maesta altarpiece, from siena cathedral, siena, italy, 1308-1311 medium/materials: tempera and gold leaf on wood size/scale: 7' x 13' description and subject: narrative panels, from annunciation to after crucifixion, which is the largest stylistic features: read in zigzag, narrative action, illusionistic effects, modeled forms significance: extensive series of relief panels on the back of the maesta altarpiece, duccio painted jesus's passion in 24 scenes on 14 panels, beginning with entry into jerusalem, at the lower left, through noli me tangere, at top right

virgin and child enthroned with saints

duccio di buoninsegna, principal panel of the maesta altarpiece, from siena cathedral, siena, italy, 1308-1311 medium/materials: tempera and gold leaf on wood size/scale: 7' x 13' description and subject: virgin enthroned for high altar of siena cathedral, choruses of angels and saints stylistic features: individualized, not rigid frontal, soft figures and drapery function and significance:softening of traditional forms, art as a holy object duccio derived the formality and symmetry of his composition from byzantine painting, but relaxed the rigidity and frontality of the figures, softened the drapery, and individualized the faces

scene from the apocalypse, from a bible moralisee (moralized bible), c. 1226-1234, illuminated manuscript, ink, tempera, and gold leaf on velum

eight medallions, format derives from stained glass windows two vertical columns of four painted scenes each scene has a text with a summary of the event depicted in the roundel

god as creator of the world

folio 1 verso of a moalized bible, from paris, france, ca. 1220-1230. ink, tempera, and gold leaf on vellum, 1' 1 1/2"x 8 1/4" medium/materials: ink, tempera, and gold leaf on vellum size/scale: 1' 1 1/2"x 8 1/4" subject: god making the universe with a compass stylistic features: illuminated manuscript function and significance: geometric creation of the world paris boasted workshops for the production of illuminated manuscripts. in this book, the artist portrayed god in the process of creating the universe using a gothic builder's compass

two details of triumph of death

fracesco traini or buonamico buffalmacco, 1330s medium/materials: full fresco size/scale: 18' 6" x 49' 2" description and subject: aristocrats find corpses, people ignore dreadful realities stylistic features: naturalism, emotive power significance: warning against greed and lust, death imagery befitting its location on a wall in pisa's camposanto, the enclosed burial ground adjacent to the cathedral, this fresco captures the horrors of death and forces viewers to confront their mortality above a scene of the good life of music and feasting in an orange grove, angels and demons struggle for the souls of the corpses in this dramatic vision of the triumph of death in pisa's major cemetery

paintings in the arena chapel (cappela scrovegni)

giotto de bondone, details description: life of mary, life and mission of jesus, passion and resurrection medium/materials: fresco subjects: entry into jerusalem, betrayal of jesus significance: realistic, dramatic portrayal of biblical events giotto's biblical frescoes in the arena chapel consist of 38 framed panels depicting the lives of the virgin, her parents, and jesus. the dramatic betrayal of jesus is one episode of the passion cycle

madonna enthroned

giotto de bondone, from the church of ognissanti, florence, ca. 1310 description: panel of madonna on a throne, christ on her lap medium/materials: tempera and gold leaf on wood size/scale: 10' 8" x 6' 8" subjects: madonna, christ, angels stylistic features: gold background, heavier mary, ground level, large space above function and significance: breaking from italo-byzantine, proto-renaissance giotto displaced the byzantine style in italian painting and revived classical naturalism. his figures have substance, dimensionality, and bulk, and create the illusion that they could throw shadows.

giotto, last judgment from the arena chapel, 1305-1306, fresco, padua, italy

giotto's vision of the last judgment fills the west wall above the entrance to the arena chapel. the paduan banker enrico scrovegni built the chapel to atone for the moneylender's sin of usury christ as judge, coming at the end of the world heavenly powers arranged in an organized chorus; heads aligned in a row twelve apostles arranged symmetrically around christ cross at bottom center divides the saved from the damned on the side of the saved is enrico scrovegni as a donor presenting a model of the church to angels at right is the devil who eats and excretes sinners those guilty of usury or money-related sins like prostitution are particularly noted

annunciation, nativity, and adoration of the shepherds

giovanni pisano, relief panel on the pulpit of sant-andrea, pistoia, italy, 1297-1301 description: relief on baptistery pulpit medium/materials: marble subjects: annunciation, nativity, adoration of the shepherds stylistic features: loose and dynamic arrangement of figures function and significance: contrasts nicola pisano's sculptures

choir of gloucester cathedral (looking east)

gloucester, england, 1332-1357 description: perpendicular style choir architectural features: enormous window divided, square east end, slender lancets, vertical focus significance: decorative surfaces>structural clarity

golden haggadah (the plagues of egypt, scenes of liberation and preparation for passover), c. 1320, illuminated manuscript, pigment on vellum

illustrates the story of the jewish exodus from egypt under moses and its subsequent celebration to be read at a passover seder haggadah means "narration"; fulfills the jewish requirement to tell the story of the jews' escape from egypt as a reminder of god's mercy narrative cycle of events from the books of genesis and exodus this haggadah used primarily at home; avoids the more stringent restriction against holy images in a synagogue haggadot (plural) are generally the most lavishly painted of jewish manuscripts two unknown artists, probably christian, illuminated the golden haggadah; a jewish scribe wrote the hebrew script style similarities to french gothic manuscripts in the handling of space, architecture, figure style, facial/gestural expression, and the manuscript medium itself painted in the barcelona area of spain 56 miniatures using gold leaf background book read right to left according to the manner of hebrew texts; vellum pages

old testament kings and queen

jamb statues on the right side of the central doorway of the royal portal, chartres cathedral, chartres, france, ca. 1145-1155 description: kings and queens flank portal, individuality of figures architectural features: rigid figures, linear garment folds, attached to columns significance: old testament relatives literally and figuratively support new testament above the biblical kings and queens of the royal portal are the royal ancestors of christ. these early gothic jamb figures display the first signs of a new interest in naturalism in european sculpture

annunciation and visitation

jamb statues on the right side of the central doorway of the west facade, reims cathedral, reims, france, ca. 1230-1255 description: statues of west facade subjects: mary as queen of heaven, annunciation, visitation, gabriel stylistic features: full bodied figures, free and easy movemets, roman-style, naturalistic, contrapposto, elongated bodies function and significance: multiple artists several sculptors working in diverse styles carved the reims jamb statues, but all the figures resemble freestanding statues with bodies and arms in motion. the biblical figures converse using gestures

west facade of laon cathedral

laon france, begun ca. 1190 description: intricate, reduced mass architectural features: central rose window, deep porches, towers significance: depart from romanesque the huge central rose window, the deep porches in front of the doorways, and the open structure of the towers distinguish laon's early gothic facade from romanesque church facades

interior of laon cathedral (looking northeast)

laon, france, begun ca. 1190 description: alternate support system, groin vaulted gallery architectural features: nave bays have sexpartite rib vaults, pointed arches significance: french church architecture of late 12th century the insertion of a triforium at laon broke up the nave wall and produced the characteristic four-story early gothic nave elevation: arcade, vaulted gallery, triforium, and clerestory

rottgen pieta, 1300-1325, painted wood

medium/materials: painted wood size/scale: 2' 10 1/2" high subject: virgin cradles dead christ stylistic features: anguish, image of sorrow and death function and significance: interest in suffering of biblical figures this statuette of the virgin grieving over the distorted dead body of christ in her lap reflects the increased interest during the 13th and 14th centuries in the savior's suffering and the virgin's grief an andachtsbild, used for private devotion christ emaciated, drained of all blood, all tissue, all muscle horror of the crucifixion manifest humanizing of religious themes grape-like drops of christ's blood a reference to christ as "mystical vineyard"

blanche of castile and louis ix, 1226-1234, illuminated manuscript, ink, tempera, and gold leaf on vellum

moralized bible top left: blanche of castile, mother and regent to the king top right: teenage king louis ix bottom: older monk dictates to younger scribe luminosity of stained glass windows, strong black outlining of forms modeling is minimal the dedication page of this royal book depicts saint louis, his mother and french regent blanche of castile, a monk, and a lay scribe at work on the paired illustrations of a moralized bible

ekkehard and uta

naumburg master, statues inthe west choir, naumburg cathedral, naumburg, germany, ca. 1249-1255. painted limestone, ekkehard 6' 2" high medium/materials: painted limestone size/scale: ekkehard 6' 2" high subjects: margrave ekkehard ii of meissen and his wife, uta stylistic features: stand beneath architectural canopies, forceful projection, free movement function and significance: convincing image, lasting through time th period costumes and individualized features of these donor statues give the impression that ekkehard and uta posed for the naumburg master, but they lived long before the sculptor's time

annunciation, nativity, and adoration of the shepherds

nicola pisano, relief panel on the baptistery pulpit, pisa, italy, 1259-1260 description: relief on baptistery pulpit medium/materials: marble size/scale: 2' 10" x 3' 9" subjects: annunciation, nativity, and adoration of the shepherds stylistic features: bulky figures function and significance: roman influence classical sculptures inspired the faces, beards, coiffures, and draperies, as well as the bulk and weight of nicola's figures. the nativity madonna resembles lid figures on roman sarcophagi

diagram and drawing of rib vaults with semicircular and pointed arches

notes: gothic rib vaults have pointed arches same height as crown, semicircular has different heights pointed arches channel the weight of the rib vaults more directly downward than do semicircular arches, requiring less buttressing. pointed arches also make the vaults appear taller than they are

notre-dame (looking northwest)

paris, france, begun 1163; nave and flying buttresses, ca. 1180-1200; remodeled after 1225 description: oculus over each bay below clerestory lancet, flying buttresses architectural features: masonry reduced, internal quadrant arches significance: ideal solution for lofty naves with huge windows king philip ii initiated a building boom in paris, which quickly became the intellectual capital of europe. ntore-dame in paris was the first great cathedral built using flying buttresses

birth of the virgin

pietro lorenzetti, from the altar of saint savinus, siena cathedral, siena, italy 1342 medium/materials: tempera on wood size/scale: 6' 1" x 5' 11" description and subject: in an upper class italian home, birth of the virgin, women, midwives stylistic features: spatial illusionism, triptych significance: step to worldly realism in this triptych, pietro lorenzetti revived the pictorial illusionism of ancient roman murals and painted the architectural members dividing the panel as if they extended back into the printed space

doge's palace

venice, italy, begun ca. 1340-1345; expanded and remodeled, 1424-1438 description venetian republic's seat of government, delicately patterned architectural features: short and heavy columns, pointed arches, slender columns and ogee arches, each story is taller function and significance: most ornate building in medieval italy the delicate patterning in cream-and-rose colored marbles, the pointed and ogee arches, and the quatrefoil medallions of the doge's palace constitute a venetian variation of northern gothic architecture