A Cathedral Wall Plaque

Cathedral Wall Plaque

Gothic art evolved from Romanesque art and lasted from the mid-12th century to as late as the end of the 16th century in some areas. The term Gothic was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the non-classical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culture in the 5th century Ad. The term retained its derogatory overtones until the 19th century, at which time a positive critical revaluation of Gothic architecture took place. Although modern scholars have long realized that Gothic art has nothing in truth to do with the Goths, the term Gothic remains a standard one in the study of art history.
Gothic sculpture was closely tied to architecture, since it was used primarily to decorate the exteriors of cathedrals and other religious buildings. The earliest Gothic sculptures were stone figures of saints and the Holy Family used to decorate the doorways, or portals, of cathedrals in France and elsewhere. The sculptures on the Royal Portal of Chartres Cathedral (c. 1145-55) were little changed from their Romanesque predecessors in their stiff, straight, simple, elongated, and hieratic forms. But during the later 12th and the early 13th centuries sculptures became more relaxed and naturalistic in treatment, a trend that culminated in the sculptural decorations of the Reims Cathedral (c. 1240). These figures, while retaining the dignity and monumentality of their predecessors, have individualized faces and figures, as well as full, flowing draperies and natural poses and gestures, and they display a classical poise that suggests an awareness of antique Roman models on the part of their creators. Early Gothic masons also began to observe such natural forms as plants more closely, as is evident in the realistically carven clusters of leaves that adorn the capitals of columns.
Monumental sculptures assumed an increasingly prominent role during the High and late Gothic periods and were placed in large numbers on the facades of cathedrals, often in their own niches. In the 14th century, Gothic sculpture became more refined and elegant and acquired a mannered daintiness in its elaborate and finicky drapery. The elegant and somewhat artificial prettiness of this style was widely disseminated throughout Europe in sculpture, painting, and manuscript illumination during the 14th century and became known as the International Gothic style. An opposite trend at this time was that of an intensified realism, as displayed in French tomb sculptures and in the vigorous and dramatic works of the foremost late Gothic sculptor, Claus Sluter. Gothic sculpture evolved into the more technically advanced and classicistic Renaissance style in Italy during the 14th and early 15th centuries but persisted until somewhat later in northern Europe.
Gothic painting followed the same stylistic evolution as did sculpture; from stiff, simple, hieratic forms toward more relaxed and natural ones. Its scale grew large only in the early 14th century, when it began to be used in decorating the retable (ornamental panel behind an altar). Such paintings usually featured scenes and figures from the New Testament, particularly of the Passion of Christ and the Virgin Mary. These paintings display an emphasis on flowing, curving lines, minute detail, and refined decoration, and gold was often applied to the panel as background colour. Compositions became more complex as time went on, and painters began to seek means of depicting spatial depth in their pictures, a search that eventually led to the mastery of perspective in the early years of the Italian Renaissance. In late Gothic painting of the 14th and 15th centuries secular subjects such as hunting scenes, chivalric themes, and depictions of historical events also appeared. Both religious and secular subjects were depicted in manuscript illuminations--i.e., the pictorial embellishment of handwritten books. This was a major form of artistic production during the Gothic period and reached its peak in France during the 14th century. The calendar illustrations in the Très Riches Heures du duc de Berry (c. 1416) by the Limburg brothers, who worked at the court of Jean de France, duc de Berry, are perhaps the most eloquent statements of the International Gothic style as well as the best known of all manuscript illuminations


On Gargoyles, 1909 — G. K. Chesterton,
“Alone at some distance from the wasting walls of a disused abbey I found half sunken in the grass the grey and goggle-eyed visage of one of those graven monsters that made the ornamental water-spouts in the cathedrals of the Middle Ages. It lay there, scoured by ancient rains or striped by recent fungus, but still looking like the head of some huge dragon slain by a primeval hero. And as I looked at it, I thought of the meaning of the grotesque, and passed into some symbolic reverie of the three great stages of art.
The Old Greeks summoned godlike things to worship their god. The medieval Christians summoned all things to worship theirs, dwarfs and pelicans, monkeys and madmen. The modern realists summon all these million creatures to worship their god; and then have no god for them to worship. Paganism was in art a pure beauty; that was the dawn. Christianity was a beauty created by controlling a million monsters of ugliness; and that in my belief was the zenith and the noon. Modern art and science practically mean having the million monsters and being unable to control them; and I will venture to call that the disruption and the decay.”

Salisbury Cathedral

Salisbury Cathedral

Salisbury Cathedral is an elegant Gothic edifice located in Salisbury, about 90 miles southwest of London. Built almost entirely in the 13th century, the cathedral boasts the tallest spire and the largest cloisters in England.

The history of Salisbury Cathedral begins two miles away at Old Sarum, an ancient fortified plateau where a Norman cathedral was built by Bishop St. Osmund in 1075. The sight must have been impressive, but the location proved to be a constant headache due to its exposure to the elements and lack of sufficient water.

Finally, in 1217, Bishop Richard le Poore wrote to the Pope for permission to abandon the site for a better location two miles away, at the confluence of two rivers. The petition was granted and the clergy moved to the new site in 1219.

Construction on Salisbury Cathedral began in the Early English Gothic style in 1220. The work was completed quickly, resulting in a unity of architecture rarely seen in England. Even after Bishop le Poore moved to Durham, the builders adhered to the original design until its completion.

In accordance with common practice, construction began at the east end and worked west. The Chapel of the Holy Trinity and All Saints was completed in 1225, after which the tomb of St. Osmund was moved there from Old Sarum. Next came the choir, transepts and nave, which were complete by 1258, when the cathedral was consecrated. The elaborate west front was finished in 1255, the cloister in 1270 and the chapter house in 1284.

The only major element to be added later was the famous spire, which came along in 1310-33. But its shape matches the cathedral perfectly and is made from the same stone, quarried from Chilmark 12 miles away. The spire was a daring addition, forcing the structure below to carry a dangerous amount of weight (6,500 tons with the tower). Only a multitude of buttresses, bracing arches and iron ties have kept it from collapsing over the centuries.

The rare harmony of Salisbury Cathedral was damaged by the architect James Wyatt in 1789-92, whose "restorations" included removing the 13th-century choir screen, high altar, stained glass windows and detached bell tower, and rearranging the nave's monuments into rows. Another restoration by Sir George Gilbert Scott in 1859 attempted to put some of it back together again.