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o you know how a stained-glass window is made? Have you everseen a fresco? What do you know about Gothic cathedrals? As the

Medieval period continued, monasteries, such as the one in Figure 15.1,attracted people who devoted their lives to prayer. One of the changesthat took place during this time was the revival of cities. People left theirrural villages looking for a better life. A new style of church architectureappeared in the cities. Tall towers flanked their west portals, and coloredsunlight streamed in through beautiful stained glass. These were the greatcathedrals, the most impressive accomplishment of the late Middle Ages—a period known as Gothic.

15Gothic Art

Read to Find Out As you read this chapter, learn about the Gothicstyle of architecture and the great cathedrals of Europe. Read to find outabout the realistic sculpture that artists created for the cathedrals. Readfurther to learn about Italian church painting and the frescoes of Giotto.

Focus Activity Recall what you learned about early medieval artworkand Romanesque art. What changes and innovations do you see in theart and architecture of the Gothic period? What makes a work of art orarchitecture Gothic? Look at Figure 15.1 more closely. How does thestructure of this cloister compare with one built during the Romanesqueperiod? What difference do you notice in the curve of the arches? Whyare these arches not Romanesque?

Using the Time Line The Time Line introduces you to other Gothicworks of art in this chapter. What details do you recognize as differentor innovative when compared with what you know about earlymedieval and Romanesque art?

D

c. 1150The Gothicperiod begins

1157Santes CreusMonastery isfounded nearTarragona, Spain

c. 1200Statues on the façade of Chartres Cathedral inFrance with elongatedproportions

1215King John of England signs the Magna Carta

1211Construction of the Cathedral of Reims is begun

c. 1100sThe Cathedral ofTarragona in Spaincombines features ofRomanesque andGothic architecture

1000 12001150The Gothic period begins

c. 1200s French architects develop the pointed arch, piers, and the flying buttress

■ FIGURE 15.1 Cloister, Santes Creus Monastery. Founded in 1157. Near Tarragona, Spain.

331

c. 1200–1300Mary Magdalene,stained-glass windowin the Cathedral ofLeón, Spain

1413–15The Limbourg brothers produce Book of Hoursfor their patron, the Duke of Berry

1300 1400

1305Giotto paintsLamentation Pietà

c. 1200–1300Illustrated books became popular

Refer to the Time Lineon page H11 in yourArt Handbook for moreabout this period.

Vocabulary■ Gothic■ buttress

DiscoverAfter completing this lesson,

you will be able to:■ Describe the main features of

Gothic architecture.■ Explain the relationship between

Gothic architecture and the artof stained-glass windows.

hroughout the thirteenth and fourteenth centuries, the growth oftrade kept pace with the growth of cities. Trade routes were estab-

lished between existing cities, and new cities sprang up along theseroutes. Trade, the growth of cities, and the increasing power of kings com-bined to bring an end to the feudal system.

What is Gothic?Gothic is the term used to identify a period that began around the mid-

dle of the twelfth century and lasted to the end of the fifteenth century and,in some places, into the sixteenth. The name was coined by later criticswho scorned the art of the period because it did not hold to the standardsof ancient Greek and Roman art.

Because the Goths and other barbarian tribes had brought about the fallof Rome, the term Gothic was given to buildings that replaced classicalforms. The name, then, is misleading; the Goths did not design or con-struct Gothic buildings.

The Romanesque style paved the way for the Gothic style and, in mostareas, merged with it. In fact, many buildings that were begun asRomanesque were completed as Gothic (Figure 15.2). The lessons learnedin producing Romanesque churches were put to good use during the Gothicera. If the greatest of the Medieval arts was architecture, then the Gothiccathedral was Medieval architecture’s greatest triumph (Figure 15.3).

Emergence of the Gothic Style

■ FIGURE 15.2 This cathedral,begun in the twelfth century, combines features of Romanesqueand Gothic architecture. Point out specific Romanesque featuresin this structure.

Cathedral of Tarragona, Spain. Begun in the twelfth century.

LESSON ONE

332

T

Innovations in CathedralArchitecture

Gradually, Gothic architecture movedaway from Romanesque heaviness andsolidity toward structures of lightness andgrace. During the thirteenth century, Frencharchitects developed the pointed arch, piers,and the flying buttress. These innovationsenabled builders to erect the slender, soaringGothic cathedral.

Pointed Arches and Flying Buttresses■ FIGURES 15.4 and 15.5

Gothic builders discovered that they couldreduce the sideways pressure, or thrust, of astone roof by replacing the round arch with apointed one (Figure 15.4). Because the curveof a pointed arch is more vertical, the thrust isdirected downward. This downward thrust isthen transferred to slender supportingcolumns, or piers, within the building.

Additional support is provided by butresses.A buttress is a support or brace that counter-acts the outward thrust of an arch or vault.Because they often had to reach over the sideaisles of the church, these braces came to be known as “flying buttresses” (Figure 15.5,page 334). The use of pointed arches, piers, and

Chapter 15 Gothic Art 333

■ FIGURE 15.3 An early Christian basilica was built onthis site in the fourth century. It was replaced by this cathe-dral, built in the Gothic style during the twelfth and thir-teenth centuries. What specific features identify thiscathedral as Gothic?

Cathedral of Chartres, France. Right side and apse. c. Twelfth century.

■ FIGURE 15.4 The introduction ofpointed arches made it possible to usethis kind of slender column or pierinside a large cathedral. In addition tothese piers, what else was used tosupport the heavy stone ceiling ofcathedrals?

Plasencia Cathedral (interior). Plasencia, Spain.Begun in the thirteenth century.

■ FIGURE 15.5 Asupport that reachesout to absorb theoutward thrust ofthe heavy roof of aGothic cathedral iscalled a flying but-tress. What wasplaced in the wallsbetween these fly-ing buttresses?

Àvila Cathedral, ÀvilaSpain. Begun in thetwelfth century.

COURT FEASTS. Life at court in Gothiccastles included banquet feasts for thewealthy nobles. This scene shows thefashionable headdresses worn by women,and musicians playing in the balcony asservants wait on the guests.

MAGNA CARTA. This thirteenth-centurydocument helped shape the U.S. Consti-tution and Bill of Rights. Signed by KingJohn of England in 1215, it guaranteesfreedom and liberties to the commonpeople. It is now housed in the NationalArchives in Washington, D.C.

Examining PrimarySources. Look at this image of theMagna Carta document. Locate a copyand read it. Show evidence from thedocument that helps you to understandwhy it was written. What class of peo-ple were most affected by it?

Activity

Gothic PeriodSee more Time & Place events on theTime Line, page H11 in your Art Handbook

c. 1100 1500

flying buttresses created a thrust-counterthrust system that supported theceiling. This system eliminated the needfor solid walls. As a result, the spacebetween the supporting piers could befilled in with stained-glass windows.

Stained-Glass WindowsThe walls of glass, which builders

were now free to use between thepiers, let light flow into the cathedrals(Figures 15.6 and 15.7). They werealso an ideal way to impress andinstruct the faithful congregationthrough images created with piecesof colored glass. The light streamingthrough the windows made the glassricher and brighter than the dull sur-face of a wall painting.

334 Unit Five Art in Quest of Salvation

Chapter 15 Gothic Art 335

THE MEDIEVAL ART OF STAINED GLASS

With stories depicting the lives of Christ, the VirginMary, and saints, stained-glass windows bring to mindthe beautifully colored illuminations found in Medievalmanuscripts. These stories are preserved in scenes thathave lasted for centuries.• Size. In cathedrals such as those at

Chartres, Reims, and Paris in France andat León in Spain, huge areas weredevoted to stained glass.

• Color. For color, artisans added mineralsto the glass while it was still in a moltenstate. In this way, the glass was stainedrather than painted; the color was verybright.

• Design. Small pieces of this stainedglass were then joined with lead stripsand reinforced with iron bars. The leadstrips and iron bars often were made apart of the design.

LOOKING Closely ➤

■ FIGURE 15.6 Notre Dame Cathedral, Stained

glass. Paris, France. Begun in the twelfth century.

■ FIGURE 15.7 Mary Magdalene, (detail).

Stained-glass window in the Cathedral of León,

Spain. Thirteenth to fourteenth centuries.

The Gothic InteriorGothic interiors required no more

decoration than the vertical lines ofthe architecture, the richly coloredstained glass, and the colorful flow of light. Romanesque churches had tobe lighted from within by candles andlamps. Gothic interiors, however, werebathed in tinted sunlight passingthrough walls of stained glass.

A Gothic cathedral such as theCathedral of Chartres or the Cathedralof Reims (Figure 15.8) is just asimpressive on the inside as it is on theoutside. It is so huge that it cannot becompletely examined from one spotbecause no single point offers a viewof the entire structure.

Walking through such a cathedral,you find your gaze moving in all direc-tions. A beautifully carved relief sculp-ture captures your attention for amoment, but then an immense expanseof stained glass draws your eyesupward. Tilting your head far back, yousee an arched stone ceiling that seemsto float overhead.

A Heavenly LightThese Gothic interiors (Figure 15.9)

are always striking, but they are evenmore so at sunset. At that time of day,when the rays of the sun strike low andfilter through the many colors of thewindow, the effect is breathtaking. Notsurprisingly, it was once said that themysterious light in Gothic cathedralswould lead the souls of the faithful tothe light of God.

336 Unit Five Art in Quest of Salvation

■ FIGURE 15.8Notice the use ofsymmetrical bal-ance on the exteriorof this cathedral.What element ofart is used to directthe eye upward?

West façade, ReimsCathedral (exterior).Reims, France. Begun in 1211.

■ FIGURE 15.9 The pointed arches,slender columns, and large stained-glasswindows mark this interior as Gothic.How does it differ from the Romanesqueinterior seen in Figure 14.7 on page 314?

Central nave toward the apse, Reims Cathedral (interior). Reims, France.

Gothic ChurchConstruction

Gothic cathedrals were bothexpressions of religious devotionand symbols of civic pride. Unlikethe rural settings of Romanesquechurches, Gothic cathedrals wereproducts of the new and prosper-ous cities. They served as churchesfor bishops. Rival bishops andcities vied for the right to claimthat their cathedral was thebiggest, the tallest, or the mostbeautiful. In the growing and prosperous cities of the Gothicperiod, everyone wanted to partici-pate in the community effort tobuild these magnificent structures.People of all ranks and back-grounds contributed money, time,or effort toward the common goalof praising God and beautifyingtheir own city.

The Gothic style was not limitedto France or to religious structures.Architectural features developed in cathedrals were adapted in the construction of monasteries(Figure 15.10) and secular build-ings throughout Europe.

Chapter 15 337

■ FIGURE 15.10 Gothic monasteries exhibited the same architectural features ascathedrals. What Gothic feature can you identify in this monastery cloister? Do yourecall the purpose served by cloisters?

Santes Creus Cloister (exterior). Near Tarragona, Spain. Twelfth century.

Reviewing Art Facts1. Explain Why was the term Gothic

given to the art of this period?2. Describe What is a flying buttress?3. Identify List three ways a Gothic

cathedral differed from a Romanesquechurch.

4. Recall What structural featuresenabled Gothic builders to add win-dows to their cathedrals?

Finding Intents and Purposes The plainchant, a form ofmusic that developed during the Gothic period, soundsstrange to our ears today. Plainchants were used as part ofthe ceremony of the medieval Church. They were handeddown orally for many years, but eventually chant booksbegan to appear, providing a record of this music.

Activity Using resources in your local library or schoolmedia center, locate a modern recording of the plainchant.Listen to the music while imagining that you are a wor-shiper in a Gothic cathedral. Record your impressions inyour Visual Arts Journal.

LESSON ONE REVIEW

Visit art.glencoe.com for study tools and review activities.

Vocabulary■ gargoyles

DiscoverAfter completing this lesson,

you will be able to:■ Explain how the sculptures on

Gothic cathedrals differed fromsculptures on Romanesquechurches.

■ Discuss the influence of stained-glass art on manuscript illumina-tion during the Gothic period.

■ Describe the features of theInternational style of painting.

othic sculpture, like the stained glass of the period, was designed aspart of one large composition—the cathedral erected to the glory of

God. Gradually, sculpture developed along more realistic and individual-ized lines, but it always complemented the architectural setting in whichit was placed.

Sculptural DecorationsSeen from the narrow streets of Medieval cities, the spires of Gothic

cathedrals stretched upward to heaven. This upward tendency is notedeverywhere, in the pillars, pointed arches, and windows.

A statue of normal size and proportions attached to such a structurewould have detracted from this soaring quality. To avoid this, sculptureswere elongated, or stretched out (Figure 15.11). The repeated, long foldson their sculptured garments emphasize the vertical movement of these figures. Often, the figures even stand on globes with their toes pointingdownward to create the impression that they are rising upward.

Gothic Sculpture and Illustrated Books

338

■ FIGURE 15.11 Note the elongated proportions of thesefigures. With your finger, tracealong the repeated lines of thesesculptures. In what direction dothe lines lead you?

Statues from the Royal Portal façade of Chartres Cathedral, France. Early thirteenth century.

LESSON TWO

G

Romanesque carvers made their figuresappear firmly attached to the wall. Gothicsculptors, by contrast, made theirs projectoutward into space. Further, each figure wasclearly identified in some way and easily rec-ognized by anyone familiar with the Bible.

A figure holding keys was immediatelyidentified as St. Peter, who had beenentrusted with the keys to the heavenly king-dom. Another bearing stone tablets was rec-ognized as Moses; engraved on the tabletswere the Ten Commandments given to him byGod on Mount Sinai (Figure 15.12).

The Growing Concern for RealityGothic sculptors wanted to do more than

present sacred symbols of biblical figures. Theywanted to make these figures look like real peo-ple. The figures appear to move and look about,and the drapery looks as though it covers a realthree-dimensional body. Figures flanking theentrance to the Burgos Cathedral (Figures 15.13and 15.14, page 340) demonstrate this realism.

Chapter 15 Gothic Art 339

■ FIGURE 15.12 Each of these calm,dignified figures would have been easilyidentified by worshipers, entering thecathedral during the Gothic period.Identify specific details that give thesefigures a realistic appearance.

Statues from the west portals, Tarragona Cathedral,Tarragona, Spain. Thirteenth century.

■ FIGURE 15.13 Notice the designof the entrance to the cathedral.What kind of balance is used here?With what effect?

Sarmental Portal, Burgos Cathedral. Burgos, Spain. Before 1250.

Check Web Links atart.glencoe.com and explorestyles of Gothic architectureand illuminated manuscriptsfrom this period.

340 Unit Five Art in Quest of Salvation

USE OF FORMAL BALANCE

Although it still recalls the spirit of the Romanesque,the south door of the BurgosCathedral reveals this growingconcern for realism, particu-larly in the tympanum. LikeRomanesque tympana, the one at Burgos makes use of aformal balance.• Central focal point. The

large, central figure showsChrist as a majestic, thought-ful, and approachable man.

• Triangular shape. The fourEvangelists are bent over their writing desks, allowingthem to fit into the triangular shape of the tympanum.

• Symmetry. Two apostles and their symbols are bal-anced evenly on each side of Christ. The Twelve Apostles are also symmetrically placed with six oneach side below Christ.

LOOKING Closely

■ FIGURE 15.14 Sarmental Portal tympanum,

Burgos Cathedral. Burgos, Spain.

■ FIGURE 15.15 Notice the informal balance and the realistic emotional expres-sions in this work. How does a comparison of this tympanum with the tympa-num at Burgos (Figure 15.14) illustrate the development of Gothic sculpture?

Death of the Virgin. Cloister tympanum, Cathedral of Pamplona, Spain. Fourteenth century.

As the Gothic style developed fur-ther, an informal, more natural bal-ance was sought. This informality isobserved in a fourteenth-centurytympanum in the cathedral cloisterin Pamplona, Spain (Figure 15.15).Here fifteen figures surround a bedon which rests the lifeless body ofthe Virgin Mary. Again, the figuresare carefully designed to fit withinthe tympanum. Christ is the largestfigure, and if you look closely, youwill see that he holds a small versionof Mary. This is her soul, which he ispreparing to carry to heaven.

A sign of the growing concern forhuman emotions is noted in the sor-rowful expressions on the faces ofthe mourners around the deathbed.These are more than mere symbolsfor religious figures. They are realpeople expressing genuine grief overthe loss of a loved one.

➤

Veneration for the Virgin MaryVeneration for the Virgin Mary grew

steadily during the Gothic period. This wasespecially true in France, where great cathe-drals were erected in her honor.

On the south portal of Amiens Cathedral is an almost freestanding sculpture of Maryholding the Christ Child (Figure 15.16).Originally covered in gold, it came to beknown as the Golden Virgin. The figure isboth elegant and noble. Its gentle human features and friendly expression made it one of the most famous sculptures in Europe.

Gargoyles■ FIGURE 15.17

One of the most interesting sculptural fea-tures of Gothic cathedrals was the inclusionof gargoyles, the grotesque flying monstersthat project out from the upper portions ofthe huge churches. Made of carved stone or cast metal, gargoyles are actually rainspouts, intended to carry rainwater from the roofs of the churches (Figure 15.17).Why were they made to look like frighteningmonsters? Perhaps because someonethought it would be a good idea to makerain spouts interesting as well as functional.They were made to look like evil spirits flee-ing for their lives from the sacred building.

Illustrated BooksA demand for illustrated books containing

psalms, gospels, and other parts of the liturgygrew steadily during the thirteenth and four-teenth centuries. These books, called “psalters,”were the prized possessions of the wealthy.Artists used tiny, pointed brushes and brightcolors to illuminate these psalters with scenesfrom the life of Christ.

The Influence of Stained-Glass ArtDuring the thirteenth and fourteenth

centuries, manuscript illumination showedthe influence of stained-glass art. These illustrations often were placed within a paintedarchitectural framework that resembled theframes used for stained-glass windows.

Chapter 15 Gothic Art 341

■ FIGURE 15.16 This figure of the Virgin Mary was noted forits gold covering—now gone—and its warm, welcoming smile.How is this pose similar to that of such Greek sculptures as theSpear Bearer by Polyclitus (Figure 8.20, page 183)?

Golden Virgin. Right door called the Mother of God. Amiens Cathedral. West façade. Amiens, France. c. 1250–70.

■ FIGURE 15.17 Gargoyles like this appear ready to unfold theirwings and fly off to some faraway land of mystery. How do you thinkgargoyles might be related to the carvings of fantastic creaturesfound on many Romanesque churches?

Gothic gargoyle. Convent of Christ, Tomar, Portugal.

In addition, the elegant figures found inthese manuscript illuminations were drawnwith firm, dark outlines, suggestive of thelead strips used to join sections of stainedglass. With these features and their rich,glowing colors, the illuminations closelyresembled the stained-glass windows set intoGothic cathedral walls.

The Carrow Psalter■ FIGURE 15.18

The influence of stained glass can be seenin an illumination in a thirteenth-centuryEnglish book of prayers known as the CarrowPsalter. This full-page illustration (Figure 15.18)shows the assassination of Thomas à Becket,archbishop of Canterbury, before the altar of his

cathedral. Four knights are seen attacking thekneeling archbishop with such fury that theblade of one sword breaks. An astonishedchurch attendant looks on as the archbishop isforced to the floor by the swords and the foot ofone knight. Two years after his death in 1170,Thomas à Becket was made a saint, and hisfame quickly spread throughout England.

The International StyleIn the years that followed, painters began

to exhibit a greater concern for realistic detailin their works. Even more important, was adesire to make their painted figures moregraceful and colorful. They took delight inpainting elegant and beautiful subjects withcare and precision.

This elegant art style appealed to the tastesof the wealthy throughout western Europe,and the demand for manuscripts illustrated inthis manner grew. Because of its widespreadpopularity, this style of painting came to beknown as the International style.

Book of Hours■ FIGURE 15.19

Among the greatest artists working in theInternational style were the Limbourg broth-ers. These three brothers from Flanders hadsettled in France, where their patron was theDuke of Berry, the brother of the French king.Early in the fifteenth century, the Limbourgbrothers produced a luxurious book ofprayers, or Book of Hours, for the duke.

Included in this book was a series of elabo-rate pictures illustrating the cycle of life throughscenes from each of the twelve months. In anillustration for May (Figure 15.19), lords andladies are shown enjoying a carefree ride in thewarm sunshine. The cold gray winter months,which meant confinement within castle walls,have finally come to an end. The lords andladies have donned bright attire and crownedthemselves with leaves and flowers to welcomespring. Trumpeters announce the new season’sarrival, and horses prance about excitedly.

The precision found in paintings of thiskind is fascinating. The artists must have

342 Unit Five Art in Quest of Salvation

■ FIGURE 15.18 In 1538 King Henry VIII ordered thedestruction of all portraits of Becket. Fortunately, thismanuscript page was not destroyed. Instead, it was cov-ered by a sheet of paper glued in place to hide it fromview. Later, when the paper was removed, some of thepaint on the upper corner was pulled off. What detailsin this illumination indicate the influence of stained-glass art?

The Martyrdom of Thomas à Becket. From the Carrow Psalter.Mid-thirteenth century. Walters Art Gallery, Baltimore, Maryland.

relished the chance to demonstrate in painttheir powers of observation. The trees of theforest are painted with such exactness thateach branch and many of the leaves stand outclearly. The same concern for minute detail isobserved in the ornate castle beyond. To paintsuch detail, the Limbourg brothers must haveheld a magnifying glass in one hand and avery fine brush in the other.

The desire for rich detail and gracefulnessis stressed at the expense of realism. Thefinely dressed women sit regally on theirhorses, unmindful of the fact that their posi-tions are not very secure. Of greater impor-tance is that they look graceful, sophisticated,and beautiful. Much of the movement sug-gested in the work is a result of the flowinglines of the drapery rather than any action on the part of the figures themselves.

Chapter 15 343

■ FIGURE 15.19 Like the lords and ladies in thecenter of this work, the bushes in the foregroundand the trees in the background are painted inprecise detail. What features make this work aclear example of the International style?

The Limbourg Brothers. May, a page from a Book of Hourspainted for the Duke of Berry. 1413–15. Illumination. 21.6 � 14 cm (81⁄2 � 51⁄2�). Ms. 65/1284, fol. 5v. Museé Condé, Chantilly, France.

Reviewing Art Facts1. Explain How do Gothic sculptures dif-

fer from sculptures on a Romanesquechurch?

2. Recall What did Gothic sculptorsaccomplish besides creating sacredsymbols?

3. Describe Describe two techniquesused by Gothic sculptors.

4. Explain In what ways did stained-glass art influence manuscriptillumination in the thirteenth andfourteenth centuries?

Solving Visual Art Problems The tympana fromRomanesque and Gothic periods graced cathedrals with sto-ries of sacred and religious themes. Compare the examplesof the sculptural works in Figure 14.21 (page 323) andFigure 15.15 (page 340). Which appears more realistic?

Activity On a sheet of paper, list scenes you mightencounter on a walk during a particular season. Makequick sketches of the landscape. Cut out a half-round ortriangular shape 12 � 8 inches. Draw one item for empha-sis in the center of your composition. Add other objects tocomplete your landscape.

LESSON TWO REVIEW

Visit art.glencoe.com for study tools and review activities.

Vocabulary■ fresco

Artists to Meet■ Duccio di Buoninsegna■ Giotto di Bondone

DiscoverAfter completing this lesson,

you will be able to:■ Explain the fresco technique of

painting.■ Discuss contributions to painting

made by Duccio and Giotto.

othic architecture did not become popular in Italy. Italian builderscontinued to construct churches in a modified Romanesque style

throughout the Gothic period. Perhaps the warmer climate of their countrycaused them to prefer the darker, cooler interiors of Romanesque-typebuildings. Instead of putting in stained-glass windows, the builders contin-ued to commission artists to decorate their church walls with murals.

Duccio (1255–1318)

Paintings on wooden panels were also used to decorate the interiors ofItalian churches. One of the most famous of these panel paintings was cre-ated by Duccio di Buoninsegna (doot-cho dee bwo-neen-seh-nya) for thealtar at the Cathedral of Siena. It was known as the Maestà (or “majesty”)Altarpiece and was actually a combination of several panel paintings.

The Virgin in Majesty was the subject of the main panel. This painting, ona large central panel almost 11 feet high, showed the Madonna enthroned asthe Queen of Heaven. Below and above this panel and on the back was aseries of smaller panels on which Duccio painted scenes from the lives of theVirgin Mary and Christ.

The Calling of the Apostles Peter and Andrew■ FIGURE 15.20

One of the Maestà panels shows Christ calling to Peter and Andrew (Figure 15.20), inviting them to join him as his apostles. The extensive use of gold in the background of this picture calls to mindthe rich mosaics of Byzantine art. The intense colors,two-dimensional figures, and shallow space are fur-ther reminders of a Byzantine style that was bothfamiliar and popular in Italy.

The Byzantine style stressed the spiritual andignored references to the real world. Byzantine artistsstripped reality to its essentials and avoided sugges-tions of depth and volume as they sought to express intense religious feelings in their work.

Duccio’s painting avoids the typical Byzantinestiffness and introduces a more realistic, relaxedlook. The three figures seem solid; they suggest thatDuccio studied real men before he attempted to paintthem. The gestures are natural, and the faces expressthe appropriate emotion: Christ’s face is serene, Peterlooks startled, and Andrew appears hesitant.

Italian Church Painting

■ FIGURE 15.20 The influence of the Byzantine style in thisItalian painting is not surprising. Italy continued to have contactwith the Byzantine Empire throughout the Medieval period. Inwhat ways is this work similar to a Byzantine mosaic? How is itdifferent?

Duccio di Buoninsegna. The Calling of the Apostles Peter and Andrew. 1308–11.Tempera on wood panel. 43.5 � 46 cm (171⁄4 � 181⁄8�). National Gallery of Art, Washington, D.C. Samuel H. Kress Collection.

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LESSON THREE

G

Giotto (1266—1337)

While Duccio was taking important stepsaway from Byzantine conservatism, anotherItalian artist was making a revolutionarybreak with the flat, unrealistic elements ofthat style. Giotto di Bondone (jot-toh deebahn-doh-nee) painted natural-looking fig-ures who appear to take real actions in realspace. A series of Giotto’s works in a chapelin Padua presents familiar stories from thelives of Christ and the Virgin. The scenes aresurprising, however, because they presentrealistic figures, actions, and emotions.

Lamentation Pietà Fresco■ FIGURE 15.21

One of Giotto’s frescoes in Padua testifies tohis monumental talent. Entitled LamentationPietà (Figure 15.21), it shows a group ofmourners around the body of Christ followingthe crucifixion. The purely spiritual did notinterest Giotto. He vigorously pursued a morerealistic course. Giotto’s concern for realismled him to study human emotions, and hetried to show those emotions in his paintings.In Lamentation Pietà, anguish, despair, andresignation are noted in the expressions andgestures of the figures surrounding Christ.

Chapter 15 Gothic Art 345

A grieving woman—undoubtedly Christ’smother, Mary—holds the body.

2➤

A natural background of blue sky makesthe scene look real. Gone is the flat goldbackground featured in earlier works.

1

iotto arranged his scene carefully with an eye for dramatic effect, much like a directorplacing the actors in a play. He offers a solitary rock ledge rather than a mountain range;he presents a single tree instead of a forest. These objects direct your attention to the play-ers acting out the tragedy of Christ’s death. The ledge guides your eye to the most impor-tant part of the picture: the faces of Christ and his mother. The tree visually balances thefigure of Christ in the opposite corner. You do not “read” this story as you would aRomanesque carved relief. Instead, you experience it as a totally involved witness.

G

Dramatic Effect in Art

■ FIGURE 15.21 Giotto di Bondone. Lamentation Pietà. c. 1305. Fresco.

Scrovegni Chapel, Padua, Italy.

A mourner clasps her hands in anguish and suffers in silence.

3

A man throws hishands back in a violent gesture ofhorror and disbelief.

4

The Fresco TechniqueMost of Giotto’s works were murals on the

inside walls of churches in a form of paintingcalled fresco. Fresco is a painting createdwhen pigment is applied to a wall spread withfresh plaster. To make a fresco, Giotto firstdrew with charcoal directly on the wall. Then,covering only as much of the drawing as hecould finish before the plaster dried, hespread a thin coat of wet plaster over the drywall and then retraced the charcoal lines,which he could barely see underneath.

He applied pigment, mixed with water and egg whites, directly to this fresh plaster.

The paint and wet plaster mixed together toform a permanent surface. If an artist tried topaint over this surface after it had dried, therepainting usually flaked off over time. If amistake was made, the whole surface had tobe cleaned off and the section painted again.

Technique Dictates StyleBecause the fresco technique required that

painting had to be completed before the plas-ter dried, Giotto did not have time to includemany details in his pictures. As a result, hispictures were simple but powerfully expres-sive (Figure 15.22).

346 Unit Five

■ FIGURE 15.22 Thiswork is a fresco; Giottopainted it directly ontothe wall of the chapel.How did the techniquesof fresco painting affectGiotto’s style? What hasGiotto done to keep theviewer’s eye from wan-dering off the picture at either side?

Giotto di Bondone. Death of St. Francis (detail of mourners). c. 1320. Fresco. Bardi Chapel, Santa Croce, Florence, Italy.

Reviewing Art Facts1. Explain What effect did the design

of Italian churches during the Gothic period have on the art used to decorate the interiors of thosechurches?

2. Describe How do Giotto’s painted figures differ from those painted byearlier artists?

3. Define What is a fresco painting?4. Recall What limitations are imposed

on artists who used the fresco technique?

Identifying Intents and Purposes Gothic sculpture beganas sacred symbols. As the Gothic period progressed, sculp-tors became more concerned with reality. Sculptured figuresseemed to be no longer clothed spirits without human bod-ies but living, moving human forms.

Activity Compare Figure 15.11 with Figure 15.16. Describethe differences. Now, compare Figure 8.15 and Figure 8.22.How is the development of Gothic sculpture similar to thedevelopment of Greek sculpture? How is it different? Whatare the purposes of artists from the two periods? Recordyour conclusions in your journal and communicate youranswers to your group.

LESSON THREE REVIEW

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Materials• Tympanum drawing from Lesson Two Review• Clay, rolling pin, and clay modeling tools• Two wood slats, 1 inch thick• Canvas, muslin, or cloth about 14 � 14 inches to

cover tabletops or desktops

Complete a clay relief sculpture of a tympanumlandscape. Use deep carving techniques to create thenearly three-dimensional forms of the landscape,resulting in a rich surface pattern of light and dark values. Use a variety of tools to create at least five different actual textures on the relief.

InspirationExamine the tympanum from the Sarmental Portal

of Burgos Cathedral (Figure 15.14, page 340) and theDeath of the Virgin tympanum from the Cathedral ofPamplona (Figure 15.15, page 340). Notice how thevarious forms in these reliefs were created.

Process1. Roll out a large slab of clay to a uniform thickness

of 1 inch. The clay slab must be large enough toaccommodate the 12 � 8 inch tympanum designcompleted in the Lesson Two Review activity.

2. Place your tympanum drawing directly on the clayslab. Cut out the half-round or triangular shape ofthe tympanum. Trace over the lines of your land-scape, with a sharp pencil. This will transfer thelines of your drawing to the soft clay slab.

3. Use clay modeling tools to carve your landscape inthe clay. Do not use modeling techniques. Instead,use the subtractive carving method to create apanel in high relief. Use only the clay tools—notyour fingers—to smooth surfaces and add details.

4. When it is thoroughly dry, bisque-fire the relief and,if you wish, glaze it.

Describe Is the subject of your relief easily identified asa landscape? Can other students name the differentobjects in your landscape?

Analyze Did you clearly emphasize one object in your landscape? How did you emphasize that object?Point out five different examples of actual texture inyour relief.

Interpret What season of the year is represented inyour relief? What are the most important clues to this season?

Judge Assume that you are an art critic inclined tojudge works of art in terms of design qualities. Wouldyou consider this relief a successful work of art? Howwould you defend your judgment?

Examining Your Work

■ FIGURE 15.24 Student Work

Carving a TympanumLandscape Relief

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Brian Clarke creates stunning stained glass.

Brian Clarke is England’s foremost stained-glassartist. His glowing windows and ceilings are part

of buildings all over the world. Atop the 1988 LakeSagami Country Club in Yamanishi, Japan, sits histower of vibrant glass panels that glow at night like abeacon. He adapted repeating Islamic patterns into hisskylight for the 1982 mosque at Saudi Arabia’s mainairport. A New York City gallery owner observes,“Clarke is involved with the magic of stained glass, its luminosity.”

Following in the footsteps of artisans who createdstained glass for Gothic cathedrals, Clarke did his first works for local churches. A native of Lancashire, England, Clarke would create the panes in his studio, and then deliver them to the church by bus. Today, most of his large projects are made in a factory in Germany. Clarke works with experts there to blow molten glass into huge bubbles, which are then sliced so they can be spread apart into flat panes.

Clarke continues to produce colorful glass forsacred spaces, such as jewel-like windows for a tiny fourteenth-century abbey in Switzerland.

He also enjoys bringing art into the everyday world.In 1996, he designed skylights for a giant mall in Riode Janeiro, Brazil. It is made of more than 1,000square meters of brilliant green and blue glass thatwas inspired by the Amazon River and Rio’s famousCarnaval. “Art should be in the streets, in publicplaces,” Clarke says.

348 Chapter 15 Gothic Art

Clarke’s stained-glass skylights dazzleshoppers in this Rio de Janeiro mall.

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TIME to Connect

Research and report the history of glass and glass blowing. Be sure toinclude answers to the following questions:

• How is glass made? What are its ingredients? How is it formed intoshapes? How are colors added to the glass?

• What are some new technologies used to strengthen glass?

• What are some interesting scientific applications of glass, such asfiberoptics?

In the past, stained glass was reserved for religious spaces.“It is my mission to bring itkicking and screaming out of that milieu,” saysBrian Clarke.

Standardized Test PracticeStandardized Test Practice

Read the paragraph below and then answer the question.

15 REVIEW

Reviewing Art FactsLesson One1. What contributed to bringing an end to the

feudal system in Europe?2. Name three architectural innovations that

enabled architects to construct soaring Gothiccathedrals.

3. Describe the feeling evoked by the interior of aGothic cathedral.

Lesson Two4. How were sculpted figures altered to fit into the

“upward surge” feeling of Gothic architecture?5. Would you say that Gothic relief sculptures were

higher-relief or lower-relief than those of theEarly Medieval period?

6. Compared to Medieval sculptures, were Gothicsculptures more realistic or less realistic? Why?

7. What is a gargoyle?Lesson Three8. Which country continued to build churches with

solid walls, unlike the new Gothic architecture?9. Why did Giotto have to work quickly when he

was painting a fresco?10. What new goals did Giotto identify in painting?

Thinking Critically1. COMPARE AND CONTRAST. Refer to Figure 15.11

on page 338 and to Figure 14.21 on page 323.Make a list of similarities and differences betweenthe relief sculpture in each work.

2. ANALYZE. Look closely at the colors used in May(Figure 15.19, page 343). Make a list of the colorsyou see that are intense, or very bright. Then listthe colors that are dull or low in intensity.

The contents of your portfolio should bereviewed from time to time. If you createda digital portfolio or stored notes, sketches,and final original artworks, you may wishto add or remove some of your entries. Youmay choose to keep certain artworksbecause they represent your best use of theelements and principles of art. You maydecide to keep other works because theydemonstrate growth in use of specificmedia. Date your written reflections.

“Books of hours,” like the one by theLimbourg brothers (pages 342–43), were com-monplace in the 1400s. Early forerunners oftoday’s personal organizers, these books oftenincluded useful features such as calendars. Theillumination in Figure 15.19 is from the calendarsection for May. The main function of thesebooks was to provide prayers, one for eachhour of the day. Both text and picture versions

were included, to serve a largely illiterate popu-lation. The books also contained texts and illu-minations for psalms and masses for holy days.

Based on the use of illumination in the presentcontext, the word might have all of the follow-ing definitions EXCEPT

spiritual enlightenment.

clarification; explanation.

decorative lighting.

intellectual enlightenment.

Chapter 15 Review 349