AP Chapter 18
The Age of Great Cathedrals
Gothic Art
I. French Gothic
A. Define:
Abbot Suger
Crenellations
St. Thomas Aquinas
Schlolasticism
1. Discuss 3 features of the new choir at St. Denis that are
characteristic of the new Gothic style.
2. Discuss 3 structural and/or design features that characterize a
Gothic vault. What are the advantages of the pointed arch over the
round arch.
3. The new spirit of the Gothic period that replaced the severity of
Romanesque themes of judgment and damnation could be
symbolized by the dedication of cathedrals to_______________?
4. At the Royal Portal of Chartres Cathedral how do the jamb
figures differ significantly from Romanesque figures?
5. At Laon Cathedral, discuss 3 Romanesque features that were
retained and 3 new Gothic features.
6. Draw a diagram of an Early Gothic elevation. Label the
characteristic 4 stores: nave arcade, vaulted gallery, triforium and
clerestory.
7. What was the function of the flying buttress? Why was it an
essential element of the Gothic architectural vocabulary?
8. Describe or draw the new bay structure of Chartres that was to
become the norm for High Gothic buildings. What spatial effect
did this create?
9. What segment of an Early Gothic elevation was eliminated in
High Gothic buildings. What technical development made this
possible?
10. What was the theological significance of stained glass
windows? What is the difference between a rose window and a
lancet window?
11. What is the difference between plate tracery and bar tracery?
12. How do the figures of St. Martin, St. Jerome and St. Gregory
from the Porch of the Confessors (18-15) and the jamb figures
from the Royal Portals of Chartres Cathedral (18-6) illustrate the
development of Gothic sculpture?
13. The skeletal structure and the high vaults of Amiens Cathedral
were possible because of the masterful use of the High gothic
structural elements. What were the 4 basic elements?
14. What major change in the façade do you see between Chartres
(18-4) and Reims (18-21)?
15. The Rayonnant (Radiant) style that developed in the 2nd half of
the 13th c. was associated with the court of__________________?
16. What was the purpose of the Sainte Chapelle in Paris? How
did its structure reflect that purpose?
17. Describe the purpose of the Virgin of Paris (18-24) that was
typical of much later Gothic sculpture.
18. From what did the Late Gothic Flamboyant style derive its
name? Give an example.
19. How do the guild hall (18-27) and Jacques Coeur house (1828) reflect the new economic conditions of Northern Europe in the
Late Gothic period?
20. Who was Villard de Honnecourt and what did he use as the
basis for drawing many of his figures?
21. In what way do the manuscript illuminations illustrated in 1830, 18-31 and 18-32 reflect the influence of the arts of architecture
of stained glass?
22. What features of the graceful image of the Virgin (18-35) link
her to the French court?
23. What is the meaning of the scene portrayed on the ivory casket
(18-36) and how does it relate to the concerns of the leisure class?
II. Gothic Art Outside of France
A. Define
Fan vaulting
1. Discuss 5 features of Salisbury Cathedral that distinguish it
from French Gothic.
2. The late English Gothic seen at Gloucester is called? It is
characterized by the what features?
3. The church of St. Elizabeth at Marburg is an early example of a
favorite German type of Gothic structure known as a…..? How
does it differ from the standard basilican type of church and what
is the reason for the difference?
4. Briefly describe the style used in the depiction of the Death of
the Virgin on Strasbourg Cathedral (18-48)?
5. Who were Ekkehard and Uta and what is significant about their
appearance in a cathedral?
6. What is a Pieta? What mood is created by the 14th c. example
in 18-51?
7. How is the façade of Orvieto Cathedral (18-55) related to those
of French Gothic churches? In what major way does it differ?
8. What features of the Doge’s Palace in Venice can be considered
Gothic?
9. What similarity do you see between the S-curve of The Virgin
of Paris (18-35) and that used by the Greek artist Praxiteles for the
Hermes (5-62). In what ways are the two figures different?
10. The equestrian figure of the Bamberg Rider (18-50) is
reminiscent of that of the Roman emperor Marcus Aurelius (10-59)
and the equestrian portrait of Charlemagne or Charles the Bald
(16-11). Compare the stylistic treatment of horse and rider as well
as the relationship of each figure to the space surrounding it.