Rainer of Huy was a 12th century metalworker and sculptor from Belgium credited with masterpieces of Mosan art including the baptismal font of St. Bartolomew's Church in Liege. Gothic architecture developed innovations in Romanesque architecture including stone vaulting techniques. Major Gothic cathedrals like Speyer Cathedral in Germany and Durham Cathedral in England featured stone vaulting. Gothic cathedrals also grew taller with larger windows and more elaborate decorations over time.
Rainer of Huy was a 12th century metalworker and sculptor from Belgium credited with masterpieces of Mosan art including the baptismal font of St. Bartolomew's Church in Liege. Gothic architecture developed innovations in Romanesque architecture including stone vaulting techniques. Major Gothic cathedrals like Speyer Cathedral in Germany and Durham Cathedral in England featured stone vaulting. Gothic cathedrals also grew taller with larger windows and more elaborate decorations over time.
Rainer of Huy was a 12th century metalworker and sculptor from Belgium credited with masterpieces of Mosan art including the baptismal font of St. Bartolomew's Church in Liege. Gothic architecture developed innovations in Romanesque architecture including stone vaulting techniques. Major Gothic cathedrals like Speyer Cathedral in Germany and Durham Cathedral in England featured stone vaulting. Gothic cathedrals also grew taller with larger windows and more elaborate decorations over time.
Rainer of Huy was a 12th century metalworker and sculptor from Belgium credited with masterpieces of Mosan art including the baptismal font of St. Bartolomew's Church in Liege. Gothic architecture developed innovations in Romanesque architecture including stone vaulting techniques. Major Gothic cathedrals like Speyer Cathedral in Germany and Durham Cathedral in England featured stone vaulting. Gothic cathedrals also grew taller with larger windows and more elaborate decorations over time.
sculpture to whom masterpieces of Mosan art, including the baptismal font at St. Bartolomew’s church in Liege, Belgium, are attributed. Innovations in Romanesque architecture Architectural development of great importance which took place to the end of eleventh century in both German and France, were at least partly inspired by similar demands for unity of effect. The technical knowledge and skill required for stone-vaulting on a large scale had been recovered by the mid-century. Interior of the cathedral of Speyer, Germany, C. 1082-1 106. Round and square of double transepts and double chansels can. Speyer became a model for many other church buildings but was unsurpassed in its magnificance. Church of Maria Laach, Germany, late 11th century The abbey was built in the 11th to 12th centuries and was originally known as “Abtie Laach” (Abbatia Lacensis or Laach Abbey meaning the lake abbey) until 1862 when the Jesuits added the name Maria Above Nave of Durham Cathedral, England, begun 1128 At Durham Cathedral they seem to have been intended from the start (1093); they were completed by about 1095 in the chancel aisles, by about 1104 in the chancel and by 1130 in the nave. Interior of the Abbey church of St. Etienne, Caen early 12th century
The Abbey of St. Etienne also
known as Abbaye Aux Homes ( Men’s Abbey) The Abbaye Aux Dames ( Ladie’s Abbey) is a former benedictine monastery in the French city of Caen Normandy dedicated to St. Stephen. 9, 28 Ambulatory of the abbey church of St- Denis, near Paris, 1140-44 The ambulatory of the abbey church of St-Denis, now a northern suburb of Paris, holds a position of unique importance in the history of European architecture. Gothic art and architecture Gothic art is recognizable shifts in architecture from Romanesque to gothic, and gothic to renaissance styles, are typically used to defined the period of art. Gothic architecture is a style that flourished in Europe during the high and late middle ages. It evolved from Romanesque architecture. High Gothic
The amazing achievement of French architects in
the early twelfth century was to create a system in which structure, construction and visually expressive form became indistinguishable in the Gothic cathedral— the building-as-symbol of an all-embracing religious faith. Nave of Amiens Cathedral, France, c. 1 220-36.
Is the largest of the three
great Gothic cathedrals built in France during 13th century, and it remains the largest in France Chartres Cathedral, aerial view, mainly 1194-1220.
The desire for light and
immateriality complemented the Gothic quest for ever greater height. Clerestory windows grew steadily taller, pushing up the vaults to 120 feet (37m) at Chartres, 125 feet (38m) at Reims, 140 feet (43m) at Amiens and a dizzying 157 feet (48m) at Beauvais (1230-40). Villard de Honnecourt.
Their structural purpose is well
illustrated in a drawing by Villard de Honnecourt, which shows how their arms stretch out to resist the outward thrust of the vaulting. A similar system of buttressing had been used in Romanesque architecture, but was concealed beneath the roofs of the tribune galleries above the aisles Facade of Notre- Dame, Paris, 1 1 63-1 250.
The cathedral was consecrated to
the Virgin Mary and considered to be one of the finest examples of French Gothic architecture. Its pioneering use the rib vault and flying buttresses its enormous and colourful rose window. Vine-leaf capital in chapter-house of Southwell Minster, England, C.I 290. With its spires, which strove to pierce what an English mystic called 'the cloud of unknowing', its stained-glass windows radiant with divine light shining through them as the Holy Spirit penetrated the body of the Virgin and illuminated the Church. West portal of Chartres Cathedral, c. 1 145-70.
Begun about 1145 under the
influence of St. Denis but even more ambitious. They probably represent the oldest full fledged example of Early Gothic sculpture. Comparing them with romanesque portals, we are impressed first of all with a new sense of order as if all the figures had suddenly come to attention. English and German Gothic West portal, Reims Cathedral, c. 1 225-45.
At Reims Cathedral one is given an obvious shift in
style in only four figures. The Annunciation and Visitation were completed at different times, but installed together. In the Annunciation one can see the angel, Gabriel , is sent by God to visit the virgin Mary to give her the news that she will give the birth to the Saviour. 9,36 Above Nave vault, Lincoln Cathedral, England, c. 1 240-50 In the vaulting of the nave of Lincoln Cathedral, for instance, ribs are multiplied by running one along the center and splaying out subsidiary ribs to join it, creating a pattern of stars which willfully sacrifices logic to decorative effect. 9, 37 Above right Nicholas of Verdun, The Prophet Jonah, detail from the Shrine of the Three Kings, c. 1182-90. Until the end of the twelfth century Germany clung to the Romanesque style so closely associated with the Holy Roman Empire, and intimations of a coming change are felt first in small-scale works. 9, 38 Right Ekkehart and Uta, c. 1 250- 60. Naumburg Cathedral.
The naturalism of such works was
taken to its furthest extreme in Germany, most notably in two of the quite extraordinarily lifelike statues of the founders of Naumburg Cathedral— the burly Margrave Ekkehart, hand on sword, and his elegant, worldly wife Uta, drawing the collar of her cloak across her cheek. Italian Gothic Is a gothic architecture appeared in Italy in the 12th century. The bold architectural solutions and technical innovations of the French gothic cathedrals never appeared. Italian architects preferred to keep the construction tradition established in the previous centuries. Above Nave of San Francesco, Assisi, 1 228-1 253 Gothic architecture was introduced into Italy by the Cistercians, whose abbey churches look as if they had been bodily transported from France. St. Francesco at Assisi, begun in 1228 when St Francis was canonized, substantially completed by 1239 and consecrated in 1253, is quite different. The aims of its architect were not only different from, but almost contrary to, those of his French contemporaries. The plan is of emphatically rectilinear simplicity: a Latin cross with a five-sided apse Thank You