Gothic Art plates 1

List of Plates

Lecture 2, 9/9/04: Art and Architecture in the Romanesque Period

For some of the works shown in this lecture see Stokstad, figs. 2.20, 2.22, 2.23 (Old St. Peter’s), 8.17, 8.18 (Santiago de Compostela), 8.23, 8.24 (SS Peter and Paul, Cluny/ Cluny III), 8.28, 8.29 (La Madeleine, Vézelay), 8.33, 8.34 and 8.35 (sculpture of St. Pierre, Moissac), and the images below. In addition to the reading in Stokstad, you may find useful the discussion of monasticism, pilgrimage and Romanesque architecture in Whitney Stoddard, Art and Architecture in Medieval France, 3-19, 31-52.

1. Bishop Gotefredus cuts off the arm of St. Apollonius, from a Romanesque manuscript, illumination on parchment, 1115

2. Reliquary of Ste. Foy (St. Faith), gold and gems over wood, begun 9thc, with later additions, from the Benedictine monastery of Ste. Foy, Conques (S. France)

3. Map showing the major Pilgrimage Roads to Santiago de Compostela (in NW Spain)

4. Pilgrims’ badges and ampullae, metal and terracotta, 12th century

5. St. James as Pilgrim, limestone, from Sta. Marta de Tera, Zamora (Spain), early 12thc

6. Cathedral of Santiago de Compostela, nave looking East, begun 1075, completed 12thc

7. Cathedral of Santiago de Compostela, nave elevation

8. Interior of the gallery of a pilgrimage plan church

9. Aerial view of pilgrimage church of St. Sernin, Toulouse, ca. 1070-early 12thc

10. Interior showing the ambulatory and radiating chapels in the church of the Benedictine monastery of Ste. Foy, Conques, ca. 1050-1120

11.Comparative plans of five pilgrimage churches of the Romanesque period

12. SS Peter and Paul, Cluny (Cluny III), model of the church and monastery, ca. 1088-1130

13. SS Peter and Paul, Cluny (Cluny III), reconstruction of the church, ca. 1088-1130

14. South transept arm, SS Peter and Paul, Cluny (Cluny III), ca. 1088-1130

15. Elders of the Apocalypse, detail of the tympanum, South portal, church of the Benedictine monastery of St. Pierre, Moissac, all sculpture ca. 1125-30

16. Annunciation/Visitation/Adoration of the Magi/ Presentation in the Temple/Flight into Egypt and the Fall of the Idols, sculpture on the East (right-hand) side of the porch, South portal, St. Pierre, Moissac, ca. 1125-30

17. Avarice and Luxuria (Lust)/ Parable of Dives and Lazarus, sculpture on the West (left-hand) side of the porch, South portal, St. Pierre, Moissac, ca. 1125-30

18. Luxuria and a Devil, detail of the West (left-hand) side of the porch, South portal, St. Pierre, Moissac

19. Dives at dinner/ Death of Lazarus/ Lazarus’ soul in the bosom of Abraham, detail of the West (left-hand) side of the porch, South portal, St. Pierre, Moissac

20. Dives’ soul taken to Hell, detail of the West (left-hand) side of the porch, South portal, St. Pierre, Moissac

21. Samson and the Lion, capital from the nave of the church of La Madeleine, Vézelay, ca. 1120-32

22. Plan of the church and cloister of St. Pierre, Moissac, late 11th/early 12thc

23. Gallery of the cloister at St. Pierre, Moissac, ca. 1100

24. The Arrest of Christ, capital from the cloister of the monastery of La Daurade, Toulouse, early 12thc

25. Squatting apes and men, capital from the cloister of the Benedictine monastery of St. Michel de Cuxa (S. France), ca. 1140, now at The Cloisters, NYC

26. Siren, capital from the cloister of the Benedictine monastery of St. Michel de cuxa (S. France), ca. 1140, now at The Cloisters, NYC

Terms and concepts (from lectures 1 and 2):

opus francigenum
Benedictine Order (fd. early 6thc by St. Benedict of Nursia)
Cult of saints
Cult of relics
reliquary
bodily resurrection
pilgrimage; Pilgrimage Roads
St. James the Greater (apostle)
bay
compound pier
nave arcade
galleries
barrel vault
transverse arches
ambulatory & radiating chapel system (pilgrimage choir/pilgrimage plan church)
Cluniac Order
tripartite elevation
triforium
clerestory
mandorla
hierarchical scale

Lecture 3, 9/14/04: "The ‘Invention’ of Gothic: Abbot Suger and the Royal Abbey of St. Denis"

For some of the monuments shown in this lecture see Stokstad, figs. 9.5, 9.6 and 9.8 (St. Denis), 8.42 and 8.43 (St. Etienne, Caen), and 8.36 and 8.37 (Fontenay). In addition to the reading in Stokstad, you may find useful the discussions of St. Denis and early Gothic architecture in Whitney Stoddard, Art and Architecture in Medieval France, 93-111; Jean Bony, French Gothic Architecture of the Twelfth and Thirteenth Centuries, 5-94; and Louis Grodecki, Gothic Architecture, 36-51. On Suger see Erwin Panofsky, Abbot Suger: On the Abbey Church of St. Denis and Its Art Treasures, 1-37.

27. Abbey church of St. Denis, west façade, built ca.1135-40 under Abbot Suger (with later additions), in an engraving of 1832

28. Interior of the narthex, abbey church of St. Denis, built ca.1135-40 under Abbot Suger

29. Crypt, Carolingian church of St. Denis, 9th century, with later additions

30. Reconstruction of the east part of the choir, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

31. Plan of the choir ambulatory, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

32. Interior of the choir ambulatory, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

33. Detail of one of the piers in the choir ambulatory showing attached colonnettes, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

34. Exterior of the apse and ambulatory, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

35. Diagram of Roman vaulting systems showing barrel and groin vaults

36. Diagram of a rib vault

37. Nave of the monastery church of St. Etienne, Caen, built 1064-77 under William the Conqueror (Duke William of Normandy), rib vaults ca. 1120 (Norman Romanesque architecture)

38. Detail of the gallery and clerestory-level wall passage, church of St. Etienne, Caen, ca. 1064-77

39. Rib vaults in the choir ambulatory, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger, detail looking up

40. Choir and ambulatory, church of St. Martin-des-Champs, Paris, built ca. 1130-45

41. Detail of the rib vaults in the ambulatory, church of St. Martin-des-Champs, Paris, built ca. 1130-45

42. Plan of the choir ambulatory, church of St. Martin-des-Champs, Paris, built ca. 1130-45

43. Plan of the choir ambulatory showing alignment of apse, ambulatory and chapels, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

44. Master of St. Gilles, Mass at St. Denis, painting of ca. 1500 showing the golden altar frontal of the Carolingian period refurbished under Abbot Suger

45. Chalice, sardonyx, gold and gems, commissioned ca. 1140 by Abbot Suger, St. Denis

46. Plan, Cistercian monastery and church of Fontenay, ca. 1139-47

47. Façade, Cistercian church of Fontenay, ca. 1139-47

48. Cistercian church of Fontenay, ca. 1139-47, nave looking west

49. Cistercian church of Fontenay, ca. 1139-47, nave looking east

50. Nave arcade, Cistercian church of Fontenay, ca. 1139-47

51. Panoramic view of the choir ambulatory from the main altar, abbey church of St. Denis, built ca. 1140-44 under Abbot Suger

Ile-de-France
Capetians (dynasty fd. 987)
Carolingians (late 8th-late 10thc)
St. Denis/Dionysius (martyred late 3rd c)
Suger, Abbot of Benedictine monastery of St. Denis 1122-55
Louis VI (r. 1108-37); Louis VII (r. 1137-80)
narthex
westwork
pilaster
spolia; spoliation
groin vault
rib vault (ribs; webs)
Cistercian Order (fd. late 11thc)
Bernard of Clairvaux
Dionysius the Areopagite (pagan philosopher) + Pseudo-Dionysius (late 5thc Christian
Neoplatonic philosopher) = Pseudo-Dionysius the Areopagite
anagogy/anagogical

Lecture 4, 9/16/04: Early Gothic Architecture in France

For some of the monuments shown in this lecture see Stokstad, figs. 9.9 (Sens), 8.25 (Autun), 9.16 and 9.17 (Laon), and 9.19, 9.20 and 9.22 (Paris). In addition to the reading in Stokstad, you may find useful the discussions of Sens, Laon, Paris and related monuments and developments in Whitney Stoddard, Art and Architecture in Medieval France, 110-19 and 128-45; and Jean Bony, French Gothic Architecture of the Twelfth and Thirteenth Centuries, 96-193.

52. Plan, Cathedral of St. Etienne, Sens, begun 1130s under Archbishop Henri Sanglier; new campaign begun ca. 1140; dedicated 1164; clerestory zone renovated 13thc, 14thc and later

53. Cathedral of St. Etienne, Sens, detail of aisle showing supports and rib vaults

54. Cathedral of St. Etienne, Sens, detail of the elevation

55. Cathedral of St. Etienne, Sens, reconstruction of the original elevation

56. Original plan, Cathedral of Notre Dame, Laon, begun 1165; the choir was lengthened and given a square apse with a rose window after 1205

57. View of the Cathedral of Notre Dame, Laon, begun 1165; new campaign begun ca. 1205

58. Cathedral of Notre Dame, Laon, detail of façade tower showing sculpted bulls; façade ca. 1175-1205/15

59. Cathedral of Notre Dame, Laon, begun 1165, nave looking east

60. Cathedral of Notre Dame, Laon, nave vaults

61. Cathedral of Notre Dame, Laon, detail showing columnar pier “encaged” in colonettes, added ca. 1175-85 to alternate piers in the eastern bays of the nave

62. Cathedral of Notre Dame, Laon, cross section showing quadrant arches under the gallery roof

63. Cathedral of Notre Dame, Laon, quadrant arch under the gallery roof

64. Cathedral of Notre Dame, Laon, view into north transept

65. Cathedral of Notre Dame, Laon, view into crossing

66. Cathedral of Notre Dame, Paris, original plan of c. 1163 (before 13thc enlargements), begun under Archbishop Maurice de Sully

67. Cathedral of Notre Dame, Paris, begun 1163, nave wall showing original (12thc) four-part elevation (restored by Eugène Emmanuel Viollet-le-duc in the 19thc)

68. Cathedral of Notre Dame, Paris, begun 1163, cross section of the original system of flying buttresses (buttressing the nave walls; ca. 1170?)

Terms and concepts

hairpin plan
double-bay system with alternating supports
major supports; minor supports
sexpartite vault
quadrant arch
oculus
lancet
continuous transept
flying buttress

Lecture 5, 9/21/04: Early Gothic Sculpture and Its Audiences

For some of the monuments shown in this lecture see Stokstad, figs. 8.33, 8.34 and 8.35 (the sculpture at St. Pierre, Moissac, including the prophet Jeremiah on the trumeau), 8.22 (the Ascension, trumeau of the S. portal of St. Sernin, Toulouse), and figs. 9.12, 9.13, 9.14 and 9.15 (west façade and West (Royal) portal, Cathedral of Notre Dame, Chartres).
In addition to the reading in Stokstad, you may find useful the discussion of Chartres and early Gothic sculpture in Willibald Sauerländer, Gothic Sculpture in France, 1140-1270, pp. 13-17, 27-48, and 379-86; and Paul Williamson, Gothic Sculpture, 1140-1300, pp. 11-21.

69. Prophet Jeremiah, trumeau of the portal of the S. porch, monastery of St. Pierre, Moissac, ca. 1125-30 (Romanesque)

70. Ancestors of Christ, statue columns from the central portal, west façade, Cathedral of Notre Dame, Chartres (this and all sculpture ca. 1145-60)

71. Ancestors of Christ, statue columns by the Chartres Master from the central portal, west façade, Cathedral of Notre Dame, Chartres

72. Christ-to-Come, with Angels, Prophets, and the Labors of the Months and Signs of the Zodiac, tympanum, lintels and archivolts of the left (north) portal, west façade, Cathedral of Notre Dame, Chartres

73. The Ascension, tympanum and lintel of the S. portal of St. Sernin, Toulouse, ca. 1115 (S. France, Romanesque)

74. Annunciation, Visitation, Nativity, Annunciation to the Shepherds (lower), Presentation of Christ in the Temple (Purification of the Virgin), lintels of the right (south) portal, west façade, Cathedral of Notre Dame, Chartres

75. The Nativity, detail of the lower lintel, right (south) portal, west façade, Cathedral of Notre Dame, Chartres

76. The Visitation, detail of the lower lintel, right (south) portal, west façade, Cathedral of Notre Dame, Chartres

77. The Shepherds, detail of the lower lintel, right (south) portal, west façade, Cathedral of Notre Dame, Chartres

78. Throne of Wisdom statue, paint and gesso over wood, 2nd half of 12thc, Auvergne (S. France) (Romanesque)

79. Music and Grammar (two of the Liberal Arts), archivolts of the right (south) portal, west façade, Cathedral of Notre Dame, Chartres

80. Grammar, archivolt of the right (south) portal, west façade, Cathedral of Notre Dame, Chartres

81. Pythagoras and Donatus?, Priscian?, archivolts of the right (south) portal, west façade, Cathedral of Notre Dame, Chartres

82. Christ in Majesty, Apostles, Prophets, Angels, and Elders of the Apocalypse, tympanum, lintel and archivolts of the central portal, west façade, Cathedral of Notre Dame, Chartres

83. Christ in Majesty, detail of the tympanum, central portal, west façade, Cathedral of Notre Dame, Chartres

84. Angels and Elders of the Apocalypse, archivolts of the central portal, west façade, Cathedral of Notre Dame, Chartres

85. Capital frieze with scenes from the Passion of Christ, central portal, west façade, Cathedral of Notre Dame, Chartres

86. Rejection of Anna and Joachim’s Offering/ Expulsion of Anna and Joachim from the Temple, detail of the capital frieze, central portal, west façade, Cathedral of Notre Dame, Chartres

87. Meeting of Anna and Joachim at the Golden Gate/ Bath of the Virgin, detail of the capital frieze, central portal, west façade, Cathedral of Notre Dame, Chartres

88. Ancestors of Christ, statue columns by the Etampes Master, left (north) portal, west façade, Cathedral of Notre Dame, Chartres

Terms and concepts

Sancta Camisa (holy tunic of the Virgin)
Cult of the Virgin
Fulbert of Chartres (980-c. 1130)
Column figure; statue column
Typology; typological symbolism
Trumeau
Labors of the Months, Signs of the Zodiac
Hugh of St. Victor (1st 1⁄2 12thc)
Seven Liberal Arts: Trivium (grammar, rhetoric, logic); Quadrivium (arithmetic, music, geometry and astronomy)
capital frieze

Lecture 6, 9/23/04: “High Gothic Architecture: Synthesis and Experiment.”

For some of the monuments and images seen in this lecture, see Stokstad, figs. 9.19 (the 13thc renovation of the elevation of Notre Dame, Paris), 10.2, 10.3 and 10.7 (Notre Dame, Chartres), 10.8 (comparative plans of High Gothic cathedrals), 10.9 (comparative elevations of High Gothic cathedrals), 10.10 (St. Etienne, Bourges), and 10.17 (Notre Dame, Amiens). In addition to the reading in Stokstad, you may find useful the discussion of High Gothic architecture and the individual buildings we studied in Whitney Stoddard, Art and Architecture in Medieval France, 167-90, 211-33; Han Jantzen, High Gothic; Jean Bony, French Gothic Architecture of the Twelfth and Thirteenth Centuries; and Louis Grodecki, Gothic Architecture, 107-33, 137-42.

89. Cathedral of Notre Dame, Chartres, ca. 1194-1220, view of quadripartite vaults in the nave

90. Cathedral of Notre Dame, Chartres, ca. 1194-1220, detail of piliers cantonnés in the nave

91. Cathedral of Notre Dame, Chartres, ca. 1194-1220, exterior view showing triple-tier wheel-shaped flying buttresses

92. Cathedral of Notre Dame, Chartres, ca. 1194-1220, detail of flying buttresses from the south choir

93. Cathedral of Notre Dame, Chartres, ca. 1194-1220, view at the crossing of the nave (toward the western entrance) and the transept

94. Cathedral of Notre Dame, Chartres, ca. 1194-1220, view of the labyrinth in the nave

95. Cathedral of Notre Dame, Paris, begun 1163, vaulted ca. 1180-1200; view showing renovated nave elevation of the 13thc, and colonettes added to columnar piers in the western nave (to transform them into piliers cantonnés)

96. Cathedral of Notre Dame, Paris, begun 1163, vaulted ca. 1180-1200; view showing renovated nave elevation of the 13thc

97. Cathedral of Notre Dame, Paris, begun 1163, vaulted ca. 1180-1200; view of the renovated flying buttresses (renovated 13thc)

98. Cathedral of Notre Dame, Amiens, ca. 1220-88; plan and nave by Robert de Luzarches for Bishop Evrard de Fouilloy; choir ca. 1236-88 by Thomas and Regnault de Cormont

99. Cathedral of Notre Dame, Amiens, view of the nave elevation, ca. 1220-36

100. Cathedral of Notre Dame, Amiens, detail of the nave elevation

101. Cathedral of Notre Dame, Amiens, detail of the clerestory in the nave

102. Cathedral of Notre Dame, Amiens, detail of the triforium in the nave

103. Cathedral of Notre Dame, Amiens, view of the choir elevation, ca. 1236-88

104. Cathedral of Notre Dame, Amiens, view of the choir vaults

105. Cathedral of Notre Dame, Amiens, view of the choir

106. Cathedral of St. Etienne, Bourges, ca. 1195-1214 (eastern parts); ca. 1225-55 (western parts); begun under Bishop Henri de Sully, view of the choir

107. Cathedral of St. Etienne, Bourges, choir vaults and elevation

108. Cathedral of St. Etienne, Bourges, nave elevation

109. Cathedral of St. Etienne, Bourges, cross section of buttressing system

110. Cathedral of St. Etienne, Bourges, view of buttressing system at the east end of the church

Terms and concepts

quadripartite vaulting
pilier cantonné
bifora lancet and oculus
“creation by division”
tracery
glazed triforium
Scholasticism; scholastic method
Peter Abelard (1079-1142), Sic et non (Yes and No; On the One Hand, and On the Other)
dialectic
Thomas Aquinas (1225-74), Summa Theologica (Summa of Theology)
manifestio
Erwin Panofsky, Gothic Architecture and Scholasticism

Lecture 7, 9/28/04: “Gothic Gloom? Stained Glass to the Mid-Thirteenth Century.”

For some of the images associated with this lecture see Stokstad fig. 8.38 (the Tree of Jesse image from a Cistercian manuscript), fig. 9.10 (detail of the Chartres West Infancy window), 9.11 (detail from the Chartres West Tree of Jesse Window), 9.12 (West façade, Chartres), 10.5 (the rose window of the north transept, Chartres), and 10.6 (the north transept, Chartres). In addition to the reading in Stokstad, you may find useful Malcolm Miller, Chartres Cathedral (New York, 1985), which contains an excellent discussion of the stained glass at Chartres; and Sarah Brown and David O’Connor, Glass-Painters (Toronto and Buffalo, 1991), which covers many aspects of stained glass production, including the technical ones.

111. St. John Observes the Heavenly Jerusalem Descending, miniature in the Douce Apocalypse, illumination on parchment, England, ca. 1270

112. The Heavenly Jerusalem, miniature in the Trinity College Apocalypse, illumination on parchment, England, ca. 1255-60

113. Tree of Jesse window, from the choir ambulatory of St. Denis, produced ca. 1140-44 under Abbot Suger

114. Detail of sleeping Jesse and Suger as donor, from the Tree of Jesse window from the choir ambulatory of St. Denis, produced ca. 1140-44 under Abbot Suger

115. Detail of the Old Testament kings and prophets, etc., Tree of Jesse window from the choir ambulatory of St. Denis, produced ca. 1140-44 under Abbot Suger

116. ”The Anagogical Window”, window from the choir ambulatory of St. Denis, produced ca. 1140-44 under Abbot Suger (includes the image called the “Mystic Mill,” which includes the inscription: “By working the mill, thou, Paul, takest the flour out of the bran. Thou makest known the inmost meaning of the Law of Moses. For so many grains is made the true bread without bran, Our and the angels’ perpetual food.”)

117. The Mystic Mill, capital from the nave of La Madeleine, Vézelay, ca. 1130 (Romanesque)

118. The Infancy Window, from the west façade, Cathedral of Notre Dame, Chartres, ca. 1150-70

119. The Nativity, detail of the Infancy Window, west façade, Cathedral of Notre Dame, Chartres, ca. 1150-70

120. Notre Dame de la Belle Verrière (“Our Lady of the Beautiful Window;” The Blue Virgin), center portion ca. 1170; side angels added early 13thc; originally in the choir of the Romanesque church of Chartres; moved to the south choir in the thirteenth century

121. Notre Dame de la Belle Verrière, center portion of ca. 1170, originally in the choir of the Romanesque church of Chartres; angels added and window moved to the south choir in the thirteenth century

122. Notre Dame de la Belle Verrière, center portion ca. 1170, angels added thirteenth century

123. St. Anne Holding the Infant Virgin, with Old Testament Kings and Prophets, lancets under the north transept rose window, Cathedral of Notre Dame, Chartres, donated ca. 1220-30 by Blanche of Castile, queen of France

124. South Transept Rose Window, Cathedral of Notre Dame, Chartres, donated ca. 1227 by the counts of Dreux

125. Standing Saints (SS Giles and George), clerestory windows from the nave, Cathedral of Notre Dame, Chartres, early 13thc

126. The Good Samaritan Window (Parable of the Good Samaritan, Luke 10: 30ff), from the south aisle (ground level), Cathedral of Notre Dame, Chartres, ca. 1210, donated by the cobblers (shown in the bottom of the window)

127. The Good Samaritan Window, detail of first quatrefoil, from the bottom up, and left to right: Jesus telling the Parable of the Good Samaritan; the Jewish traveler sets out from Jerusalem; the Jewish traveler is attacked on the road by thieves; the priest and the Levite see the traveler lying in the road but pass him by (the parable continues above)

128. The Good Samaritan Window, detail of second quatrefoil, from bottom up and left to right: scenes of the Creation and Fall of Man (from Genesis)

129. Lancets in the apse clerestory, Cathedral of Notre Dame, Chartres, early 13thc

130. Virgin and Child, window in the apse clerestory, Cathedral of Notre Dame, Chartres, early 13thc

131. The Bread-basket Carriers, donors of the “Virgin and Child” window (above) in the apse clerestory, Cathedral of Notre Dame, Chartres, early 13thc

Terms and concepts

Tree of Jesse – from Isaiah 11:1-3: “But a shoot shall sprout from the stump of Jesse; and from his roots a bud shall blossom.”
pot-metal glass; flashed glass
fleur-de-lys
Blanche of Castile, wife of Louis VIII of France, mother of Louis IX of France
Bernard of Chartres (11thc)
Parable of the Prodigal Son (Gospel of Luke)

Lecture 8, 10/30/04: “Some French Sculptural Programs of the Twelfth and Thirteenth Centuries.”

For some of the images associated with this lecture see Stokstad, figs. 9.33 (Senlis) and 10.6 (north transept, Chartres). Penny Schine Gold’s “Religious Image” is the best recent discussion of developments in the iconography of Mary in the 12th and 13th centuries.

132. Cathedral of Notre Dame, Senlis, west façade, central portal with the Dormition, Assumption and Triumph of the Virgin, ca. 1170

133. Dormition, Assumption and Triumph of the Virgin, center portal, west façade, Cathedral of Notre Dame, Senlis, ca. 1170

134. Triumph of the Virgin, detail of the center portal, west façade, Cathedral of Notre Dame, Senlis, ca. 1170

135. Assumption of the Virgin, detail of the lintel, west façade, Cathedral of Notre Dame, Senlis, ca. 1170

136. Virgin and Christ Enthroned (as Sponsa and Sponsus), mosaic in the apse, Sta. Maria in Trastevere, Rome, ca. 1130-43 (Italian Romanesque)

137. Sponsa and Sponsus, historiated initial in a manuscript of Bede’s commentary on the “Song of Songs,” colored ink on parchment, ca. 1130 (English Romanesque)

138. Center portal, north transept façade, Cathedral of Notre Dame, Chartres, completed ca. 1230, sculpture ca. 1210

139. Dormition, Assumption and Coronation of the Virgin, center portal, north transept façade, Cathedral of Notre Dame, Chartres, ca. 1210

140. Coronation of the Virgin, detail of the center portal, north transept façade, Cathedral of Notre Dame, Chartres, ca. 1210

141. Diptych with the Coronation of the Virgin/ Last Judgment, ivory, made in Paris ca. 1260-70

142. South transept portal, Cathedral of Notre Dame, Amiens, sculpture ca. 1250-60

143. Vierge dorée (Gilt Virgin), trumeau of the south transept portal, Cathedral of Notre Dame, Amiens, ca. 1250-60

144. Vierge dorée (Gilt Virgin), trumeau of the south transept portal, Cathedral of Notre Dame, Amiens, ca. 1250-60 (another view)

145. Vierge dorée (Gilt Virgin), detail

146. Virgin and Child, from the Ste. Chapelle, painted and gilded ivory, ca. 1250-60

147. Virgin and Child, painted stone, later 13thc, French

148. Virgin and Child, painted stone, later 13thc, French (another view)

Terms and concepts

“Song of Songs” (Old Testament book)
Sponsus and Sponsa (the Bridegroom and the Bride)
Mary as the “New Eve”

Lecture 9, 10/5/04: "More French Sculptural Programs."

For some of the monuments and images associated with this lecture, see Stokstad, figs. 10.11 (west façade, Reims), 10.16 (west façade, Amiens), 10.20 (west façade, center portal, Amiens), 10.21 (“Le Beau Dieu”), 10.24 (west façade, center portal, Reims, with the Coronation of the Virgin), 10.26 (west façade, center portal, right jamb with Annunciation and Visitation, Reims), 10.27 (Joseph, from the west façade, center portal, left jamb, Reims), and 10.47 (interior [verso] of the west façade, center portal, Reims). For a good account of the High Gothic sculpture of Amiens and Reims, see Paul Williamson, Gothic Sculpture 1140-ca. 1300, pp. 59-65, 141-45, 156-60.

149. Cathedral of Notre Dame, Amiens, portals of the west façade, all sculpture ca. 1225-40 and later

150. Apostles, jamb figures on the left side of the center portal, Cathedral of Notre Dame, Amiens, ca. 1230

151. “Le Beau Dieu” (“The Handsome God”), trumeau of the center portal, west façade, Cathedral of Notre Dame, Amiens, ca. 1230

152. Virtues and Vices (including Luxury and Chastity, Avarice and Charity, Pride and Humility), reliefs under the Apostles, left side, central portal, west façade, Cathedral of Notre Dame, Amiens, ca. 1230

153.The Last Judgment, with Jesus Displaying his Wounds, tympanum of the central portal, west façade, Cathedral of Notre Dame, Amiens, ca. 1230

154. Standing Virgin and Child; St. Firmin, first Bishop of Amiens, trumeau statues for the right portal (the Virgin portal) and the left portal (the saints portal), west façade, Cathedral of Notre Dame, Amiens, ca. 1230

155. Annunciation/ Visitation/ Presentation of Jesus in the Temple, jamb figures on the left side, right portal (Virgin portal), west façade, Cathedral of Notre Dame, Amiens, ca. 1230

156. Saints (with Labors of the Months and Signs of the Zodiac on the reliefs below), jamb figures on the left side, left portal (saints portal), west façade, Cathedral of Notre Dame, Amiens, ca. 1225-30

157. Cathedral of Notre Dame, Reims, begun 1211 under Archbishop Henri de Braisne, west façade begun in the 1230s, detail of second “storey” of tower

158. Cathedral of Notre Dame, Reims, west façade begun in the 1230s, detail of “gallery of kings” showing coronation and anointing of Old Testament rulers

159. Cathedral of Notre Dame, Reims, west façade begun 1230s, three portals with glazed tympana

160. Coronation of the Virgin, detail of the central gable, west façade, Cathedral of Notre Dame, Reims (this is a 19thc replacement of the original sculpture, which dates to ca. 1245-55)

161. Annunciation/ Visitation, jamb figures from the right side, central portal, Cathedral of Notre Dame, Reims, sculpture ca. 1225-55

162. The Visitation, by the “Antique Master,” jamb figures from the right side, central portal, Cathedral of Notre Dame, Reims, ca. 1230-35

163. The Annunciation, jamb figures from the right side, central portal, Cathedral of Notre Dame, Reims, Annunciate Virgin by the “Amiens Master” ca. 1225-30, Annunciate Angel by the “Joseph Master” ca. 1245-55

164. The Virgin, detail from “The Visitation,” by the “Antique Master,” ca. 1230-35

165. Elizabeth, detail from “The Visitation,” by the “Antique Master,” ca. 1230-35

166. Annunciate Angel, detail from “The Annunciation,” by the “Joseph Master,” ca. 1245-55

167. The Presentation of Jesus in the Temple, jamb figures from the left side, central portal, Cathedral of Notre Dame, Reims, ca. 1230-55

168. Joseph, detail from the “Presentation of Jesus in the Temple” by the “Joseph Master,” ca. 1245-55

169. Interior (verso) of the west façade, central portal, Cathedral of Notre Dame, Reims, sculpture ca. 1250-55

170. Angel and Vandal, sculptures on the interior jamb, verso of the west façade, central portal, Cathedral of Notre Dame, Reims, ca. 1250-55

171. Abraham and Melchisedek (from Genesis 14), from the right side, verso of the west façade, central portal, Cathedral of Notre Dame, Reims, ca. 1250-55

172. John the Baptist Censures King Herod and Queen Herodias, from the right side, verso of the west façade, central portal, Cathedral of Notre Dame, Reims, ca. 1250-55

Terms and concepts

Fourth Lateran Council (1215)
confession
touret
setting marks
Philip II “Augustus” (king of France 1180-1223)
St. Nicasius of Reims

Lecture 10, 10/7/04: One Viewer of Gothic: Villard de Honnecourt/ The Rayonnant Style and New Ways of Seeing in the Thirteenth Century

For some of the images and monuments associated with this lecture see Stokstad, fig. 10.25 (from Villard’s sketchbook), 10.45 (the Ste. Chapelle), 11.2, 11.3 and 11.4 (St. Urbain, Troyes), and 11.5 and 11.6 (grisaille glass and colored glass produced with silver oxide and the flashed glass technique, from St. Ouen, Rouen). In addition to the reading in Stokstad, you may find useful the discussion of Rayonnant architecture and the status of the architect in Rolf Toman, ed., The Art of Gothic, 80-93; and the account of the Ste. Chapelle in Daniel H. Weiss, Art and Crusade in the Age of Saint Louis (New York: Cambridge University Press, 1998), 1-77.

173. Villard de Honnecourt, Apse of Notre Dame, Reims, from his sketchbook, ink on parchment, ca. 1230-35

174.Villard de Honnecourt, Cross-section of a pilier cantonné from Reims; rose window from the west façade, Chartres, from his sketchbook, ink on parchment, ca. 1230-35

175. Villard de Honnecourt, Tower from the west façade, Notre Dame, Laon, from his sketchbook, ink on parchment, ca. 1230-35

176. Villard de Honnecourt, Forms drawn according to the “art of geometry”, from his sketchbook, ink on parchment, ca. 1230-35

177. Villard de Honnecourt, Pride and Humility, from his sketchbook, ink on parchment, ca. 1230-35

178. Villard de Honnecourt, Animals, insects and a labyrinth, from his sketchbook, ink on parchment, ca. 1230-35

179. Villard de Honnecourt, Foliate forms, from his sketchbook, ink on parchment, ca. 1230-35

180. Villard de Honnecourt, The lion drawn “from life”, from his sketchbook, ink on parchment, ca. 1230-35

181. Ste. Chapelle, Paris, plan and section of the upper and lower chapels, built ca. 1243-48, possibly by Pierre de Montreuil, for Louis IX of France

182. Ste. Chapelle, Paris, exterior from the west, built ca. 1243-8, possibly by Pierre de Montreuil, for Louis IX of France

183. Ste. Chapelle, Paris, exterior, detail of the windows and buttresses

184. Ste. Chapelle, Paris, interior of the lower chapel, looking east

185. Ste. Chapelle, Paris, interior of the upper chapel, looking east

186. Ste. Chapelle, Paris, detail of the base of the elevation showing the arcade, sculpture, painted roundels and king’s niche

187. Ste. Chapelle, Paris, detail showing apostle and painted roundel

188. Statue of an apostle from the Ste. Chapelle, Paris, ca. 1243-8

189. Ste. Chapelle, Paris, diagram showing the subjects of the stained glass

190. The Crowning with Thorns, detail of the Passion window, Ste. Chapelle, Paris, pot-metal glass, ca. 1243-8

191. Coronations of Old Testament Kings, detail of the window illustrating the Book of Numbers (Old Testament), Ste. Chapelle, Paris, pot-metal glass, ca. 1243-8

192. Queen Esther and King Ahasuerus, detail of the window illustrating the Book of Esther (Old Testament), Ste. Chapelle, Paris, pot-metal glass, ca. 1243-8

193. St. Urbain, Troyes, begun 1262, commissioned by Pope Urban IV, choir and transept built by Jean Langlois, plan

194. St. Urbain, Troyes, begun 1262, detail of the transept façade

195. St. Urbain, Troyes, begun 1262, transept and choir elevations

196. St. Urbain, Troyes, begun 1262, choir and apse

197. Three Towers Reliquary, chased gilt silver, enamel, and crystal, in the Aachen Cathedral Treasury, ca. 1370-90

Terms and concepts

Louis IX of France (1226-70)
palace chapel
bundle pier
grisaille glass
silver oxide; silver stain
intromission/ extramission
ostentoria reliquary

Lecture 11, 10/12/04: Word, Image and Ideology I: The Gothic Bible

For some of the images and works associated with this lecture, see Stokstad fig. 10.1 (page from a moralized bible). The following sources will be helpful in understanding developments in the production and illustration of the bible and bible picture books in the Gothic period: Gerald Guest, Bible Moralisée (London: Harvey Miller, 1995) (the introductory essay in this volume discusses the format and making of the moralized bibles); Christopher de Hamel, A History of Illuminated Manuscripts (Boston: David R. Godine, 1986), “Books for Students,” pp. 107-35 (on the universities, manuscripts for students, the making of the Paris Bible, and moralized bibles); and Kathryn A. Smith, “Bibles,” pp. 21-24, in Leaves of Gold: Manuscript Illumination from Philadelphia Collections, ed. James R. Tanis with Jennifer A. Thompson (Philadelphia: Philadelphia Museum of Art, 2001), on the development of the bible in the medieval West, including the Paris Bible, bible picture books and moralized bibles.

198. Historiated initial “I” beginning the book of Esther (Old Testament) and showing Queen Esther and King Ahasuerus, from a pocket bible made in Paris ca. 1250

199. Historiated initial “P” beginning one of Paul’s Epistles (New Testament) and showing St. Paul as author, from a pocket bible made in Paris ca. 1285

200. Saul and the Israelites defeat the Ammonites/ Saul anointed by Samuel/ Samuel Sacrificing to God, full-page miniature from the Morgan Old Testament Picture Book, illumination on parchment, made ca. 1250 in Paris? Northern France? Naples?

201. The Story of David and Bathsheba, full-page miniature from the Morgan Old Testament Picture Book, illumination on parchment, made ca. 1250 in Paris? Northern France? Naples?

202. The Story of Amnon and Tamar, full-page miniature from the Morgan Old Testament Picture Book, illumination on parchment, made ca. 1250 in Paris? Northern France? Naples?

203. Genesis Scenes and their moralizations, full-page from a moralized bible, illumination on parchment, made ca. 1220-40 in Paris

204. God the Divine Geometer Creating the Universe, full-page miniature from a moralized bible, illumination on parchment, made ca. 1220-40 in Paris

205. Making a moralized bible: Blanche of Castile (?), Louis IX of France, a cleric, and a scribe, full-page miniature from a moralized bible, illumination on parchment, made ca. 1220-40 in Paris

206. The Sacrifice of Isaac/ Christ bearing the cross to Calvary, detail from a moralized bible, gold and illumination on parchment, made ca. 1220-40 in Paris
Text, top: “Here Abraham come to the mountain and before him his son, and carries the wood to make the sacrifice” (from the Old Testament book of Genesis)
Text, bottom: “That Isaac carried the wood for the sacrifice signifies Jesus Christ who carried his cross to his crucifixion.”

207. God makes the firmament in the midst of the waters/ The Holy Church in the midst of wickedness, detail from a moralized bible, gold and illumination on parchment, made ca. 1220-40 in Paris
Text, top: “Here God makes the firmament in the midst of the waters.” (from the Old Testament book of Genesis)
Text, bottom: “This signifies the Holy Church in the midst of wickedness.”

208. Gideon and the Men of Succoth/ Bishops and Slack Monks, detail from a moralized bible, gold and illumination on parchment, made ca. 1220-40 in Paris
Text, top: “Here Gideon asks the men of Succoth for bread for his Israelite army, but they refuse him.” (from the Old Testament book of Judges)
Text, bottom: “This signifies that Christ commands the bishops to preach to slack monks, but they refuse.”

209. The Benjamites flee the Israelites to the Rock of Rimmon/ The Albigensians, detail from a moralized bible, gold and illumination on parchment, made ca. 1220-40 in Paris
Text, top: “Here the Benjamites flee the Israelites to the rock of Rimmon in the wilderness.” (from the Old Testament book of Judges)
Text, bottom: “This signifies that the men . . . who escaped and hid in the rocks are the Albigenses who adore the devil instead of God.”

Terms and concepts

Paris bible – University of Paris
Mendicant orders – early 13th century

Franciscans (fd. St. Francis of Assisi [Giovanni de Bernadone])

Dominicans (fd. St. Dominic [Dominic de Guzman])

historiated initial
bible picture book
parchment
ideology; propaganda
anti-Judaism vs. anti-semitism
limited toleration (St. Augustine)
usury
idolatry

Lecture 12, 10/14/04: “Eccentric” Gothic: England I
Note: all structures shown in this lecture are in the Early English (or Lancet) Gothic style

For some of the works discussed in this lecture, see Stokstad, figs. 9.26 and 9.27 (plan and interior of choir, Christ Church, Canterbury Cathedral), fig. 10.29 (the façade of the Cathedral of St. Andrew, Wells), and figs. 10.32-10.35 (plan, exterior and interiors, Salisbury Cathedral). For a good account of Early English Gothic architecture, see Rolf Toman, ed., The Art of Gothic: Architecture, Sculpture, Painting (Cologne, 1998), 118-35.

210. Reliquary of St. Thomas à Becket, silver, niello, silver gilt and gemstone, made in England ca. 1173-80 (in the Metropolitan Museum of Art)

211. Canterbury Cathedral, view of the choir built ca. 1174-84 by William of Sens (ca. 1174-78) and William the Englishman (finishes the choir and builds the Trinity Chapel and Corona ca. 1178-84)

212. Canterbury Cathedral, choir, detail of Purbeck marble shafts

213. Canterbury Cathedral, choir, view of the Trinity Chapel (Becket’s tomb was moved here from the crypt below in 1220; his skull was in the Corona)

214. Salisbury Cathedral, built ca. 1220-58 by Master Nicholas of Ely under the direction of Bishop Richard Poore, exterior showing façade and crossing tower (the tower is 14thc)

215. Salisbury Cathedral, built ca. 1220-58, view of the nave

216. Salisbury Cathedral, built ca. 1220-58, detail of the nave elevation

217. Salisbury Cathedral, built ca. 1220-58, interior of the Trinity Chapel (at the east end of the church) built by Master Nicholas of Ely

218. Cathedral of St. Andrew, Wells, façade built and decorated ca. 1220-40 under the direction of architect Adam Lock for Bishop Joscelin (towers are 14thc)

219. Cathedral of St. Andrew, Wells, façade built ca. 1220-40, detail showing the arrangement of the sculpture

220. Cathedral of St. Andrew, Wells, façade built ca. 1220-40, detail of the uppermost zone showing standing and seated saints, prophets, and secular figures, the dead rising from their graves (the General Resurrection), apostles, and Christ in Majesty

221. Cathedral of St. Andrew, Wells, façade built ca. 1220-40, detail showing two deacon saints and a half-length angel (in the quatrefoil)

222. Lincoln Cathedral, plan, building begun 1192 by Geoffrey de Noiers under Bishop Hugh of Avalon (later St. Hugh)

223. Lincoln Cathedral, the “Crazy Vaults” in St. Hugh’s Choir (the western choir) designed by Geoffrey de Noiers

224. Lincoln Cathedral, the “Crazy Vaults” in St. Hugh’s Choir, another view

Terms and concepts

Norman Conquest of England – 1066
Anglo-Norman
Plantagenet dynasty of England (also controlled Normandy and Aquitaine in southern France until early 13thc)
Henry II Plantagenet
Thomas à Becket, Archbishop of Canterbury – murdered 1170, canonized 1173
Early English Gothic (Lancet Gothic), ca. 1170-1250
Gervase, monk of Canterbury
Purbeck marble
crossing tower
screen façade (typical English façade)
Palm Sunday (Jesus’ Entry into Jerusalem)
tierceron vault
--ridge rib; tiercerons

Lecture 13, 10/19/04: “England II”
Note: all structures shown in this lecture are in the English Decorated Style

For some of the monuments shown in this lecture, see Stokstad, fig. 10.30 and 10.33 (strainer arches at the crossing, Cathedral of St. Andrew, Wells, and plan of the cathedral), figs. 11.10 and 11.11 (the Angel Choir, Lincoln Cathedral), figs. 11.12 and 11.13 (Exeter Cathedral, bishop’s throne and choir), and fig. 11.14 (the octagon, Ely Cathedral). A good survey of English Decorated Style architecture can be found in Rolf Toman, ed., The Art of Gothic: Architecture, Sculpture, Painting (Cologne, 1998), 136-45.

225. Lincoln Cathedral, view of the Angel Choir (the east choir), built ca. 1256-80 (for St. Hugh’s choir, the west choir, see the previous lecture)

226. Cathedral of St. Peter, Exeter, ca. 1275-1366, nave looking toward the Great West Window

227. Cathedral of St. Peter, Exeter, ca. 1275-1366, view of the tierceron vault in the nave and choir

228. Cathedral of St. Andrew, Wells, begun after 1184, nave 13thc; detail of strainer arches (scissors arches) at the crossing, built 1338-48

229. Cathedral of St. Andrew, Wells, begun after 1184, nave 13thc; detail of strainer arches (scissors arches) at the crossing, built 1338-48

230. Cathedral of St. Andrew, Wells, begun after 1184, nave 13thc; detail showing the star vault in the Lady Chapel, ca. 1326

231. St. Augustine’s, Bristol, detail of the vault in the Berkeley Chapel of ca. 1300-30

232. The Octagon (crossing tower), Ely Cathedral, timber, built by William Hurley ca. 1328-47, detail showing the star vault

Terms and concepts

English Decorated Style, ca. 1250-1340
ogee arch
strainer arch
liernes
star vault

Lecture 14, 10/21/04: “Word, Image and Ideology II: The Gothic Apocalypse.”

For the image, St. John Observes the Heavenly Jerusalem Descending from the Douce Apocalypse, see lecture 7 of this website. For some of the issues discussed in this lecture, please review Debra Higgs Strickland, "Christians Imagine Jews," but especially pp. 107-15 and 130-6. All manuscripts shown in this lecture were made in England.

233. St. John on Patmos, miniature in the Douce Apocalypse, gold and illumination on parchment, made ca. 1270 for Edward I of England and his wife, Eleanor of Castile

234. The Lamb (Rev. 5: 6), miniature in the Douce Apocalypse

235. The Opening of the First Seal (Rev. 6: 1-2), miniature in the Douce Apocalypse

236. The Opening of the Sixth Seal (Rev. 6: 17), miniature in the Douce Apocalypse

237. The People Worship the Beasts (Rev. 13), miniature in the Douce Apocalypse

238. The Harlot Rides the Beast (Rev. 17: 3-5), unfinished miniature in the Douce Apocalypse

239. Followers of Antichrist, miniature in the Gulbenkian Apocalypse, illumination on parchment, ca. 1260-70

240. Christ Before Caiaphas, historiated initial in the Salvin Hours, illumination on parchment, ca. 1270

241. Antichrist, the Virtues and Vices, miniature in the Gulbenkian Apocalypse

242. Preachers and Prophets, miniature in the Gulbenkian Apocalypse

243. Sale and Destruction of the Jews, miniature in the Gulbenkian Apocalypse

Terms and concepts

apocalypse manuscript
Book of Revelation (last book of the New Testament)
General Resurrection
Edward I Plantagenet (r. 1272-1307)
Berengaudus Gloss
bole; glair
Vespasian (Roman emperor)

Lecture 15, 10/28/04: “The Psalter and Its Illustration.”

For some of the images associated with this lecture, see Stokstad figs. 9.32 (Pentecost, from the Ingeborg Psalter), 10.46 (Abraham and the Three Angels, from the St. Louis Psalter) and 11.16 (Beatus page and Letter E, from the Windmill Psalter). For further discussion of the psalter and its illustration in the medieval West, see William G. Noel, “Psalters,” in Leaves of Gold: Manuscript Illumination in Philadelphia Collections, pp. 44-45 and following for examples of illuminated psalters. For discussion of the illustrations to Psalm 52 in the Psalter of Bonne of Luxembourg and the Psalter of Stephen of Derby, review Debra Higgs Strickland, “Christians Imagine Jews,” pp. 138-9, figs. 62 and 64.

244. The Entombment/ The Three Maries at the Tomb, miniature in the Ingeborg Psalter, gold and illumination on parchment, made ca. 1210 for Ingeborg, princess of Denmark and queen of Philip II Augustus of France (French)

245. Theophilus Becomes the Devil’s Man/ Theophilus Repentant, miniature in the Ingeborg Psalter, gold and illumination on parchment, made ca. 1210 for Ingeborg, princess of Denmark and queen of Philip II Augustus of France (French)

246. The Virgin Retrieves the Charter from the Devil/ The Virgin Returns the Charter to Theophilus, miniature in the Ingeborg Psalter, gold and illumination on parchment, made ca. 1210 for Ingeborg, princess of Denmark and queen of Philip II Augustus of France (French)

247. The Virgin Nursing Jesus, with Praying Book Owner, miniature in the Amesbury Psalter, gold and illumination on parchment, made ca. 1250 for an unknown Benedictine nun (English)

248. The Virgin Nursing Jesus, with Praying Book Owners, miniature in the Cuerden Psalter, illumination on parchment, made ca. 1250-75 for an unknown lay couple (English)

249. Joshua Bidding the Sun and Moon to Stand Still, miniature in the St. Louis Psalter, gold and illumination on parchment, made ca. 1253-70 for Louis IX of France (French)

250. Initial “B” with David and Bathsheba/ David at Prayer before God, Beatus page in the St. Louis Psalter, gold and illumination on parchment, made ca. 1253-70 for Louis IX of France (French)

251. Initial “B” with David Playing the Harp (with David and Goliath and the Pelican in Piety in the lower margin), Beatus page in the Alphonso Psalter, gold and illumination on parchment, begun 1284 in honor of the marriage of Prince Alphonso, son of Edward I of England and Eleanor of Castile (English; Decorated Style)

252. Initial “D” with David Pointing to his Mouth, historiated initial for Psalm 38, illumination on parchment, Windmill Psalter, made ca. 1270-80, probably for Edward I of England (English; Decorated Style)

253. Initial “D” with a Fool Holding a Club and a Loaf of Bread, historiated initial for Psalm 52, illumination on parchment, Windmill Psalter, made ca. 1270-80, probably for Edward I of England (English; Decorated Style)

254. A Fool and a Jew?, miniature for Psalm 52 in the Psalter of Bonne of Luxembourg, made ca. 1345 in Paris (French)

255. Initial “D” with an Augustinian Canon and a Fool Disputing, historiated initial for Psalm 52, gold and illumination on parchment, Psalter of Stephen of Derby, ca. 1350-60 (English)

256. Initial “C” with Clerics Chanting, historiated initial for Psalm 97, illumination on parchment, Windmill Psalter, made ca. 1270-80, probably for Edward I of England (English; Decorated Style)

Terms and concepts

Christian liturgy = 1. Divine Office; 2. the Mass
Book of Psalms (Old Testament)
Miracles of the Virgin
“Ave Maria” (“Ave Maria Gracia Plena Dominus Tecum”; “Hail Mary, full of Grace, the Lord is with thee”)
Psalm 91: “Thou shalt walk on the asp and the basilisk; and thou shalt trample under foot the lion and the dragon.”
the Trinity = God the Father; Jesus the son; the Holy Spirit
miniature; historiated initial
Beatus initial; Beatus page
word illustration

**For the standard divisions and illustration of the Gothic psalter, see the handout entitled, “The Psalter.”

Lecture 16, 11/2/04: "The Book of Hours and Gothic Marginalia."

For some of the images and works associated with this lecture, see Stokstad, fig. 11.9. For more information on books of hours, see Roger S. Wieck, Time Sanctified: The Book of Hours in Medieval Art and Life (Baltimore and New York, 1988); Christopher de Hamel, A History of Illuminated Manuscripts (Boston, 1986), “Books for Everyone,” 159-85; and Leaves of Gold (Philadelphia, 2001), 68-70.

257. Adoration of the Magi, with praying female bookowner and marginalia, illustrations at Sext in a book of hours made in northern France (St. Omer?), illumination on parchment, 2nd 1⁄4 of the 14thc (French)

258. Betrayal and Arrest of Christ/Annunciation, illustrations at Matins in the Hours of Jeanne d’Evreux, illuminated ca. 1325-8 in Paris by Jean Pucelle for the third wife of Charles IV of France; “Froggy in the Middle” (Hot Cockles) in the lower right margin; tilting grotesques in the lower left margin

259. Jeanne d’Evreux at Prayer, historiated initial “D” at Matins in the Hours of Jeanne d’Evreux

260. The Prophet Amos, miniature by Jean Pucelle in the Billyng Bible, illuminated in Paris in 1327 by Jean Pucelle and others

261. Annunciation of the “Death” of the Virgin, panel from the Maestà Altarpiece, tempera and gold on panel, painted ca. 1308-11 by Duccio di Buoninsegna and his workshop for the high altar of Siena Cathedral

262. Annunciation, panel from the Maestà Altarpiece, tempera and gold on panel, painted ca. 1308-11 by Duccio di Buoninsegna and his workshop for the high altar of Siena Cathedral

263. Infancy and Passion Scenes and the Last Judgment, ivory diptych, made in France? Ca. 1350

264. The Buffeting of Christ, full-page miniature in the Fitzwarin Psalter, illumination on parchment, made in the 1340s for Amice de Haddon (English)

265. “Froggy in the Middle”, marginal image in the “Chansonnier de Paris,” illumination on parchment, late 13th or early 14thc (French)

266. The Nailing to the Cross, image in the lower margin of the Taymouth Hours, made ca. 1330, probably in London

267. The Crucifixion/ Judas returns the silver, miniature and marginal image in the Taymouth Hours, made ca. 1330, probably in London

Terms and concepts

Hours of the Virgin
canonical hours
Charles IV of France (the last Capetian king; r. 1322-8)
grisaille
Lent
East Anglia

For the standard divisions and illustration of the Gothic book of hours, see the handout entitled, “The Book of Hours.”

Lecture 17, 11/4/04: “Marginalia Redux.”

For many of the images associated with this lecture, see the three coursepack articles by Lucy Freeman Sandler. For more on marginalia, see Lilian M. C. Randall, Images in the Margins of Gothic Manuscripts (Berkeley, 1966); Michael Camille, Image on the Edge: The Margins of Medieval Art (London and New York, 1992); and Kathryn A. Smith, Art, Identity and Devotion in Fourteenth-Century England: Three Women and Their Books of Hours (London and Toronto, 2003), 167-84.

268. David at prayer before God; a “bawdy betrothal” (in the lower margin), imagery at Psalm 101 in the Ormesby Psalter (Oxford, Bodl. Douce MS 366, fol. 131), illuminated late 13thc - ca. 1330s, East Anglia (England)

269. A “bawdy betrothal”, imagery in the lower margin at Psalm 101 in the Ormesby Psalter (Oxford, Bodl. Douce MS 366, fol. 131), illuminated late 13thc – 1330s, East Anglia (England)

270. Christ Before Pilate/ The Visitation; a shivaree (in the lower right margin), illustrations at Lauds in the Hours of Jeanne d’Evreux, illuminated ca. 1325-28 in Paris by Jean Pucelle

271. The Temptations of Christ; Solomon and Marcolf (in the lower margin), imagery at Psalm 52 in the Ormesby Psalter (Oxford, Bodl. Douce MS 366, fol. 72, illuminated late 13thc – 1330s, East Anglia (England)

272. Head, from the exterior of the Cathedral of Notre Dame, Reims, mid-13th century

273. Gargoyles, from the exterior of the Cathedral of Notre Dame, Paris, 13thc

274. Animals besiege the apes’ castle, marginal imagery in a book of hours (London, BL Stowe MS 17), made ca. 1300 in Maastricht (Belgium)

275. Knight battles chimera; dueling rabbits, marginal imagery at Psalm 97 in the Ormesby Psalter (Oxford, Bodl. Douce MS 366, fol. 128), made late 13thc- ca. 1330s in East Anglia (England)

276. An ape preaches; an ape bishop, marginal imagery in a psalter (Oxford, Bodl. Douce MS 6, fols. 123v-124) made ca. 1320 in Ghent (Belgium)

277. An ape plays a game, marginal imagery in a psalter (Oxford, Bodl. Douce MS 6, fols. 153v-154) made ca. 1320 in Ghent (Belgium)

278. An ape battles a knight, marginal imagery in a psalter (Oxford, Bodl. Douce MS 6, fols. 151v-152), made ca. 1320 in Ghent (Belgium)

279. A knight battling a snail; an ape reading, marginal imagery in a Franco-Flemish psalter (private collection) made in the early 14thc

280. Lewd, defecating apes and other creatures, marginal imagery in a psalter (Oxford, Bodl. Douce MS 6, fols. 148v-149) made ca. 1320 in Ghent (Belgium)

281. Vain woman and lewd ape, marginal imagery in a Franco-Flemish psalter (private collection) made in the early 14thc

282. Nude bishop admonishes a defecating cleric, marginal imagery in the Gorleston Psalter (London, BL Add. MS 49622, fol. 228), made ca. 1330 in East Anglia (England)

283. Hybrids, vomiting, marginal imagery in a psalter (Cluniac Psalter; Castle Acre Psalter, Yale, New Haven, Beinecke MS 417) made ca. 1320 in East Anglia

284. Beatus page with marginalia, Cuerden Psalter (NY, Pierpont Morgan Library MS 756, fol. 11), made in England ca. 1250-75

285. Sir Geoffrey Luttrell receiving his shield and arms from his wife and daughter-in-law, miniature in the Luttrell Psalter (London, BL Add. MS 42130), made ca. 1320s-40s for Sir Geoffrey Luttrell of Irnham, Lincolnshire (England)

286. Ploughing and hybrids, marginal imagery in the Luttrell Psalter (London, BL Add. MS 42130), made ca. 1320s-40s for Sir Geoffrey Luttrell of Irnham, Lincolnshire (England)

287. Servants cooking and hybrids, marginal imagery in the Luttrell Psalter, made ca. 1320s-40s for Sir Geoffrey Luttrell of Irnham, Lincolnshire (England)

288. Men rowing a boat pulled by two men, marginalia in the Luttrell Psalter (London, BL Add. MS 42130, fol. 160), made ca. 1320-40s for Sir Geoffrey Luttrell of Irnham, Lincolnshire (England)

Terms and concepts

fabliaux
“What is the dirtiest word in the psalms? ‘Conculcavit!’” (“He has trampled underfoot”) (15thc, French)
multivalent
gargoyle
scatological imagery; scatology
apotropaic
imagines verborum (images of words)

Lecture 18, 11/9/04: “Arts of Realism and Emotionalism: Germany.”

For some of the works seen in this lecture, see Stokstad, figs. 10.38 and 10.38 (St. Elisabeth, Marburg), 10.40 and 10.41 (Naumburg choir screen), 11.19 and 11.20 (Strasbourg façade and sculpture), and 11.22 and 11.23 (Church of the Holy Cross, Schwäbish Gmund). For more on Gothic sculpture in thirteenth-century Germany, see Paul Williamson, Gothic Sculpture 1140-1300 (New Haven and London, 1995), 55-59 (on the sculpture of the Strasbourg South transept portal and Judgment Pillar), 91-98 (on sculpture at Bamberg, including the “Bamberg Rider”), 174-95 (on sculpture at Magdeburg, Naumburg and Strasbourg’s West facade). For further discussion of German Gothic architecture and sculpture, see Rolf Toman, ed., The Art of Gothic: Architecture, Sculpture, Painting (Cologne, 1997), 190-206, 213-34 and 334-46.

289. The “Bamberg Rider,” now on an interior pier in Bamberg Cathedral, ca. 1235-40 (Germany)

290. St. Maurice, painted sandstone, from Magdeburg Cathedral, ca. 1240-50 (Germany)

291. Cathedral of Notre Dame, Strasbourg, plan; begun 1176; apse, choir and south transept constructed under the architect, Rudolf ca. 1225-40; nave built ca. 1240-75 by the son of Rudolf; west façade begun 1277 after a design by Erwin von Steinbach (Germany)

292. Cathedral of Notre Dame, Strasbourg, interior of the nave built ca. 1240-75 by the son of Rudolf (Germany)

293. South transept façade, Cathedral of Notre Dame, Strasbourg, built ca. 1225-40 (Germany)

294. South transept portal, Cathedral of Notre Dame, Strasbourg, sculpture ca. 1230-40, as recorded in an engraving of 1617 by Isaac Brun (Germany)

295. South transept portal, Cathedral of Notre Dame, Strasbourg, 19thc reconstruction of the original sculpture of ca. 1230-40 (Germany)

296. Dormition of the Virgin, left tympanum of the south transept portal, Cathedral of Notre Dame, Strasbourg, ca. 1230 (Germany)

297. Synagoga and Ecclesia, from the south transept portal, Cathedral of Notre Dame, Strasbourg, ca. 1230-40, Musée Notre Dame, Strasbourg (Germany)

298. Synagoga, from the south transept portal, Cathedral of Notre Dame, Strasbourg, ca. 1230-40, Musée Notre Dame, Strasbourg (Germany)

299. Judgment Pillar, interior of the south transept, Cathedral of Notre Dame, Strasbourg, ca. 1230-40 (Germany)

300. Judgment Pillar, detail of the Evangelists, interior of the south transept, Cathedral of Notre Dame, Strasbourg, ca. 1230-40 (Germany)

301. Judgment Pillar, detail of trumpeting angel, interior of the south transept, Cathedral of Notre Dame, Strasbourg, ca. 1230-40 (Germany)

302. Judgment Pillar, details of the Evangelists, angels and Christ of the Last Judgment, interior of the south transept, Cathedral of Notre Dame, Strasbourg, ca. 1230-40 (Germany)

303. Judgment Pillar, detail of Christ of the Last Judgment, interior of the south transept, Cathedral of Notre Dame, Strasbourg, ca. 1230-40 (Germany)

304. Cathedral of Notre Dame, Strasbourg, west façade, begun 1277 after a design by Erwin von Steinbach (Germany)

305. Cathedral of Notre Dame, Strasbourg, west façade, begun 1277 after a design by Erwin von Steinbach, detail of the central portal and rose window (Germany)

306. Cathedral of Notre Dame, Strasbourg, west façade, begun 1277 after a design by Erwin von Steinbach, detail (Germany)

307. The Tempter (Satan) and the Foolish Virgins, jamb figures on the right (south) portal, west façade, Cathedral of Notre Dame, Strasbourg, ca. 1280 (Germany)

308. The Tempter (Satan), jamb figure on the right (south) portal, west façade, Cathedral of Notre Dame, Strasbourg, ca. 1280 (Germany)

309. The Wise Virgins, figures from the right jamb, north transept portal, Magdeburg Cathedral, ca. 1245-50 (Germany)

310. The Foolish Virgins, figures from the left jamb, north transept portal, Magdeburg Cathedral, ca. 1245-50 (Germany)

311. Choir screen with sculpted Crucifixion group, St. Mary’s, Gelnhausen, ca. 1240 (Germany)

312. Reconstruction of the choir screen of ca. 1230-40, Cathedral of Notre Dame, Chartres (France)

313. The Nativity, sculpture from the former choir screen, Cathedral of Notre Dame, Chartres, ca. 1230-40 (France)

314. West choir screen, Naumburg Cathedral, sculpture ca. 1240-50, produced under the direction of Bishop Dietrich II of Wettin (Germany)

315. The Last Supper, sculpture from the west choir screen, Naumburg Cathedral, ca. 1240-50 (Germany)

316. Judas Receiving the Silver, sculpture from the west choir screen, Naumburg Cathedral, ca. 1240-50 (Germany)

317. Betrayal/Arrest of Christ, sculpture from the west choir screen, Naumburg Cathedral, ca. 1240-50 (Germany)

318. Christ before Pilate, sculpture from the west choir screen, Naumburg Cathedral, ca. 1240-50 (Germany)

319. Christ Crucified, sculpture from the west choir screen, Naumburg Cathedral, ca. 1240-50 (Germany)

320. Naumburg Cathedral, view of the west choir, built in the second quarter of the 13th century under Bishop Dietrich II of Wettin (Germany)

321. Naumburg Cathedral, view of the west choir and plan of sculptures of ca. 1240-50 (Germany)

322. Uta, detail, figure in the west choir, Naumburg Cathedral, ca. 1240-50 (Germany)

323. Hermann and Regelindis, figures in the west choir, Naumburg Cathedral, ca. 1240-50 (Germany)

324. Church of St. Elisabeth, Marburg, begun 1235, plan (Germany)

325. Church of St. Elisabeth, Marburg, begun 1235, exterior (Germany)

326. Church of St. Elisabeth, Marburg, begun 1235, cross-section (Germany)

327. Church of St. Elisabeth, Marburg, begun 1235, interior looking east (Germany)

328. Church of St. Elisabeth, Marburg, begun 1235, interior (Germany)

329. Church of the Holy Cross, Schwäbish Gmund, built ca. 1315-1410 after a design by Heinrich Parler; net vault in the choir completed after 1491 by Aberlin Jörg, view of the interior toward the choir (Germany)

330. Hospital Church of the Holy Cross, Landshut, begun 1407 by Hans von Burghausen, view of the interior toward the choir (Germany)

Terms and concepts

Emperor Frederick II Hohenstaufen (r. 1212-50)
equestrian statue
adventus
St. Maurice (martyred late 3rd century CE)
judicial portal
Synagoga/ Ecclesia (Synagogue/Church; Old Law/New Law)
Parable of the Wise and Foolish Virgins (Matthew 25: 1-13)
Elevation of the Host; Transubstantiation
Bishop Dietrich II of Wettin (r. 1244-72)
affective piety
hall church
net vault
umbrella vault

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