Temple of Portunas - Rome 1st Century BC • Combination of Etruscan and Greek elements • Etruscan elements: frontal (sits on pedestal with one staircase) • Greek elements: ionic columns, pediment • New: engaged columns on sides

Round Temple at Tivoli 1st Century BC • Raised on a podium • Circular shape and Corinthian columnal order borrowed from Greeks • Innovative element: first use of roman concrete! (used to construct cella wall)

Sanctuary of Fortuna at Praesneste 1st Century BC • Constructed with roman concrete • Frontal (very Roman characteristic) • Central axis of stairways (similar to the Funerary Temple of Hatshepsut) • Innovative element: the Colonnade curves

Primaporta Augustus 31 BC – 14 AD • Made of marble • Depicts Augustus as commander in chief (gesturing to troops and wearing military attire – general’s cloak, staff, breast plate) • Severe style left over from Greek art (youthful face, contrapposto, perfect body) • Cupid below him riding on a dolphin (references his divine ancestor, Venus) • Breastplate covered in complex iconography showing Roman victory over the Parthians

Portrait of Livia 31 BC – 14 AD • Augustus’ wife • Youthful, calm expression (severe style) • Wearing hair in typical Early Roman style o Development of Roman Women’s hairstyles • Originally painted

Alter of Augustine Peace - Rome, Italy 31 BC – 14 AD • This structure holds a political message: how Augustus brought peace to Rome o he encourages family values (children depicted in friezes) o vegetation everywhere (acanthus plant reliefs emphasize that everything in Augustine’s era is under control) o use of Classical Greek style o Hellenistic style not used on purpose (Augustus wants to evoke calmness and peace)

Maison Carree- Nimes, France 31 BC – 14 AD • Corinthian style temple • Frontal • 6 columns across front • Compare to Temple of Portunas: which has 4 columns across & uses ionic order

Pont du Gard- Nimes, France 31 BC – 14 AD • Aqueduct that brought water from a mountain spring to Nimes • Three rows of arches with a road in between the bottom and middle arches • Water travelled on top of the structure • Waterway big enough for slaves to go through and clean (tells us there were slaves)

Porta Maggiore- Rome, Italy 41-68 AD • Supports water channels of two aqueducts • Rusticated masonry, common style under Claudius • Shows Claudius’ concern with water infrastructure

Domus Aurea- Rome, Italy 41-68 AD • Constructed under Nero • Architects: Severus and Celer • Octagon shape with rooms around it (very open) • Oculus in dome allows light to come in • VAULT-HAUNCH CLERESTORY LIGHTING system (innovative) o Allows inner rooms to be illuminated

The Colosseum- Rome, Italy 69-96 AD • Massive structure was a political statement of the Flavian’s new regime • Amphitheater made of roman concrete • Used for spectacles (gladiator games, animal hunts, etc) • Roman arches framed with all styles of engaged columns

Portrait of a Flavian Lady 69-96 AD • An abundance of textured hair (frames her face) • Young, beautiful • Deep spaces in hair created with drills

Arch of Titus- Rome, Italy 69-96 AD • Two piers, with an arch framed by engaged Corinthian columns • Attic’s inscription shows dedication to Titus • Winged victories in spandrels • Procession frieze on the inside shows motion due to stance and high relief (creates an illusion of space when walking through the arch)

Forum of Pompeii 79 AD o Heart of city life o Holds the Temple of Jupiter and the Basilica (government building)

Amphitheater in Pompeii 79 AD o On the outskirts of the city (a sign of Romanization) o It is an amphitheater (shown by two theatres together forming an oval) o first known example of a Roman concrete amphitheater (MADE BEFORE THE COLOSSEUM)

Brawl in Amphitheater, Pompeii 79 AD o Shows Pompeii’s amphitheater o Not spatially correct (we can see into the amphitheater and the top of the stairs) o Depicts a fight that broke out between the Pompeians and their neighbors o Cloth awning depicted (we know that they existed)

Samnite House, Herculaneum 2nd-1st Century BC • first style painting • Blocks painted onto wall (imitating stones) • Stucco used to create texture • Illusionistic (trying to make a plain plaster wall look like stone using paint and stucco)

Villa of Publius Fannius Synistor, at Boscoreale 100-15 BC • Second Style painting (architectural landscape) • Illusionistic (trying to dissolve the wall, trying to give the space depth by making the space seem as if it’s receding) • Linear perspective used to dissolve the wall (colonnaded courtyard, temple, etc)

Villa of Livia at Prima Porta 100-15 BC • Second Style painting • Artist has transported us outdoors • Rather than architecture, we’re in a garden • Ultimate dissolving of the wall (it’s basically no more)

Villa of the Mysteries, Pompeii 100-15 BC • Second Style painting • Wall is dissolved and the room is extended • Megalographia (humans nearly life sized) • Still leftover elements of first style (blocks)

Villa of Agrippa Postumus at Boscotrecase 15 BC – 60 AD • Third style painting • Focuses on the wall • Wall divided into vertical and horizontal registers • Delicate ornamental design • Floating vignette landscape scene on monochromatic background

Domus Aurea, Rome 60-79 AD • fourth style painting • Remnants of third style (flat panels and paintings on walls) • Remnants of illusion used in second style (depth + space) • Combination of 2nd and 3rd styles

House of the Vettii, Pompeii 60-79 AD • Fourth style painting • Can see elements of first style (painted block) • Can see elements of second style (perspective and depth in architecture) • Can see elements of third style (delicate designs and vignettes)

Forum of Trajan, Rome – by Apollodorus of Damascus 2nd Century AD • Open space, heart of city life • Colonnades on three sides • Holds a Basilica (law/civic building) with clerestory lighting • Two libraries (one Greek, on Latin)

Markets of Trajan, Rome 2nd Century AD • Multiple rooms which would have been shops • Series of barrel and groin vaults support the structure • Brick faced roman concrete • Clerestory lighting (and a window above each shop to let light in)

Column of Trajan – Rome 2nd Century AD • 35 meters high located in the Forum of Trajan • spiral stairway inside • spiral frieze goes around it (like a scroll) o pictorial account of Daitian Wars o Trajan is depicted several times on the frieze

Arch of Trajan - Benevento, Italy 2nd Century AD • Political: built by senate to commemorate triumphs of Trajan (each relief discusses a victory) • Celebrates Trajan • Winged victories in spangles • Trajan on the right side, Jupiter on the left (Jupiter giving powers to the emperor- Trajan)

Portrait of Hadrian 2nd Century AD • Brings a new presentation of the emperor (longer hair, beard, light incision on iris which indicates 2nd century or later) • Hadrian loved Greece (so he sported longer hair and a beard)

Pantheon, Rome 2nd Century AD • Constructed under Hadrian with roman concrete • Coffering in ceiling is an architectural innovation (made possible by the light weight of roman concrete) • light comes in from oculus in center of dome • interior is one unified space (architecture shaped the space)

Hadrian’s Villa at Tivoli – by Canopus and Serapeum 2nd Century AD • has a water course that evokes the canal in Egypt • Flat lintel and arch on colonnade • Hadrian uses natural space to redesign the environment • Evocation of Greece: copies of caryatids line the water

Petra, Jordan 2nd Century A.D. • Two stories o Broken pediment on 2nd story o Pediment on 1st story • Carved from rock

Model of an insula at Ostia 2nd Century AD • Rectangular doughnut • Apartment building with shops on bottom • Roman concrete construction makes this possible (stronger than wood, and not flammable)

Floor mosaic from the Bath of Neptune 2nd Century AD • Black and white floor mosaics very popular style at that time • Merely surface decorations (arranged so anyone walking through will have something to look at)

Tomb relief of vegetable vendor 2nd Century AD • Grave marker that depicts that owner was a shop keeper o Holding one item and gesturing with other hand to show that he’s selling things o Produce around, table, basket, o Counter tilted forward to emphasize products being sold

Column base of Antoninus Pius – Rome 2nd Century AD • One side is traditional (classical scene) o Apotheosis (the process of becoming a god) of Antoninus Pius and his wife: ascending on the back of an angel o Roma on the right is gesturing to Antoninus as he ascends o Classical style figures (calm, flowing drapery)

Equestrian statue of Marcus Aurelius 2nd Century AD • On his horse, gesturing to something or someone in front of him (maybe to a captive group that doesn’t survive, down below him) • Gesture of clemency • Marcus Aurelius ages in his portraits (unlike Augustus)

Column base of Antoninus Pius – Rome 2nd Century AD • Other side is a new wave of treating space/figures (rejection of classical model) o Decursio – cavalry riding around funeral pyre o No set ground line o Conceptual (turned up to birds eye view) o Space= non classical o CHANGE (has been going on since Pompeii, surprise is that it’s happening on an imperial structure)

Painted portrait of Septimius Severus and his family 3rd Century AD • This small disk portrait is a unique example of an imperial family depicted with tempera on wood • Iconoclasm: Caracalla has intentionally scratched out his brother’s face

Portrait of Caracalla 3rd Century AD • He’s a soldier’s emperor (short hair, beard, intense & threatening gaze) • Psychological intensity (wrinkles in forehead, gaze of eyes) o X created on face by furrowed brown and terse mouth (leads the eye strait to Caracalla’s eyes… source of anger and intensity) • Caracalla sets the standard for much portraiture to come

Chariot procession of Septimius Severus 3rd Century AD • Decorated with sculptures of himself and his family • Severus in chariot with his two sons (Gatta on left, Caracalla on right) • Row composition (conceptual approach- allows all to be seen, visually clear) • Linear drapery & frontality

Baths of Caracalla, Rome 3rd Century AD • Enormous scale: designed to accommodate thousands of people • More went on here than bathing—time spent with friends chatting, running, then bathing • Central axis with 4 unique rooms • Each side is an exercise room (pelestra) • Constructed with brick-faced roman concrete

Trajan Decius 3rd Century AD • Introspective portrait (turned head, eyes have bags under them which show anxiety that Trajan’s feeling, worry & interior thought) • Captures a moment in time • Short hair, short military beard

Ludovisi Battle Sarcophagus 3rd Century AD • chaotic relief scene shows Romans facing barbarians (who are depicted with longer hair) • One conquering general throws hand out in victory • You can’t see one whole body, they’re all tangled up

The Tetrachs 3rd Century AD • Cemented into the corner to depict the political reality of the tetrarchy (harmony & equality: they all look the same (expressionless), they’re embracing) • Tetrarchy established by Diocletian (4 rulers, 2 caesars & 2 emperors)

Arch of Constantine, Rome 4th Century AD • Includes Constantinian achievements and sculpture from many earlier monuments • statement that Constantine is a summation of all previous good emperors • three arches flanked by Corinthian engaged columns

Constantine the Great 4th Century AD • Enormous structure (Constantine views himself on a colossal scale) • Profile, beard, hairstyle has disappeared → now very plain (no anxiety, no age, no worry) - - like Augustus

Aula Palatina- Trier, Germany 4th Century AD • Simple, smooth exterior • Nave and apse inside (no clerestory) • Civic building • Apse-like structure (model becomes a prototype for later Christian churches)

Samuel Anointing David 4th-5th Century AD • this wall painting is from the Synagouge of Dura-Europas • depicts the old testament story of Samuel anointing David • Samuel is largest and is wearing white (he’s a prophet) • David is wearing purple (to show majesty) & is surrounded by his brothers

Catacomb of Saints Peter and Marcellinus, Rome 4th-5th Century AD • this catacomb is carved stone out of tuff • Early Christian iconography: Good Shepherd (in the center of ceiling), Jonah and the Sea Monster, Orants praying

Old St. Peter’s – Rome 4th-5th Century AD • Long nave and two side aisles (nave rises higher than side aisles, creating clerestory lighting) • Courtyard out front • Narthex

Santa Sabina, Rome 4th-5th Century AD • this Basilica is an example of early Christian Church (nave flanked by side aisles, apse to hold alter, Corinthian arcades divide nave from aisles) • Clerestory lighting

Santa Costanza, Rome 4th-5th Century AD • central, circular plan with a domed interior and an ambulatory & a narthex • Holds the sarcophagus of Santa Costanza, Constantine’s daughter • Engravings/mosaics open it up

Mausoleum of Galla Placidia, Ravenna 4th-5th Century AD • Central plan structure with blind arches on exterior • Inside very intense (covered with mosaics & holds sarcophaguses on each end of each rectangle)

The Parting of Lot and Abraham, Santa Maria Maggiore, Rome 4th-5th Century AD • mosaic depicts a story from the old testament (parting of Lot and Abraham) • they’re moving & gesturing in opposite directions, there’s a gap in between them • style: lots of heads overlapping (like tetrarchs)

Good Shepherd 4th-5th Century AD • this mosaic depicts Christ as the good shepherd • He’s wearing gold and purple garments (represent majesty) • Sheep represent his flock (followers)

Sant’Apollinare Nuovo, Ravenna 4th-5th Century AD • mosaic depicts Jesus’ miracle of multiplying the bread and fish • Christ is central figure wearing purple (shows majesty), flanked by apostles on either side • frontal figures, big eyes (in awe of Christ)

Rebecca and Eliezer at the well 4th-5th Century AD • this manuscript illumination tells the story of Rebecca and Eliezer (from book of Genesis) • Continuous narration (Rebecca shows up twice) • Written and painted on calf skin • Anachronism- Rebecca walks down a Roman street, camels don’t have enough legs for all of their bodies

Christ before Pilate 4th-5th Century AD • this manuscript illumination tells a story from the new testament (Christ before Pilate being judged) • ground line divides illustration in two (top level: pilate with mob convincting Jesus & bottom level: Jesus and another during the trial) • Tempera used on vellum (calf-skin)

Hagia Sophia, Istanbul 6th Century AD • Designed by Anthemius and Isidorus under Justinian • Hagia Sophia= “Holy Wisdom” • Minarets added during Ottoman Empire when church turned into mosque (now it’s a museum) • Support from pendentives (triangular sections of a sphere) made large dome structure & large interior possible • Strong central emphasis (symmetrical around center dome)

St. Vitale, Ravenna 6th Century AD • enter through narthex, apse at front of church • Architecture provides space for mosaics (no surface left undecorated) • Motif of 3 (triple arches, 3 series windows, etc.) • Central octagon is framed on all sides by tall arched openings • Capitals of columns look like baskets (unlike most pieces we’ve looked at)

Transfiguration Mosaic at Monastery of St. Catherine 6th Century AD • This mosaic depicts the transfiguration of Christ (in the center wearing a halo with light radiating from his body). • Located in a curved apse with marble veneer • Blue almond-shaped orb around him called “mandorla” • Christ surrounded by apostles (who are also experiencing a metamorphosis; 1st fisherman, now following Jesus)

Virgin and Child Enthroned between St. Theodore and St. George 6th Century AD • Icon located at the Monastery of St. Catherine • Tempera on wood • Shows Mary seated with Christ on her lap and saints flanking her • Mary looks out directly to communicate with those looking at the image (it’s a devotional piece, you pray THROUGH it)

David the Psalmist 834-1204 AD • Manuscript illumination showing David playing a harp before he composes the book of psalms • Many classical elements (drapery, personification (woman=melody, inspiring David), perspective (overlap & 3D)

Monastery of Hosios Loukas – Phocis, Greece 834-1204 AD • built for Saint Luke • Cross-in-square plan (with a dome on top) • Damaged mosaic in dome shows Christ as pantocrator (all ruler) • In squinches (birth of christ & baptism of jesus)

Christ as Pantocrater 834-1204 AD • This mosaic shows Jesus as pantocrater (all ruler) • Jesus is holding a book in his left hand (new testament) & has long hair, a beard, a stern face • Surrounded by a circular design

Dome of the Rock, Jerusalem 7th-9th Century AD • Highly visible around area with its gold dome (to call attention to Muslims present in Jerusalem) • Surrounded by pointed arched entryways (typical Muslim arches) • Central plan, octagonal (doorways on 4 of 8 sides) • Highly decorated exterior, avoiding sculpture & figural design (against Islam) • Interior has a narrow ambulatory with columns & piers, floral designs, alternating stone decoration, lots of gold

Great Mosque - Damascus, Syria 7th-9th Century AD • Place for daily prayer • 3 minarets around mosque where imams sing the call to prayer • Surrounded by a wall, includes a large courtyard, qibla wall (to orient you towards Mecca), hypostyle prayer hall

Great Mosque at Cordoba, Spain 7th-9th Century AD • Holds a hypostyle hall with 2 tiered arches that have alternating stone designs • Decorated with lots of inscription & intricate geometric designs • Dramatic dome & elaborate arcade

Alhambra - Granada, Spain 14th-18th Century AD • Court of the lions is rectangular with pointed arches • Looks like paradise (greenery & water, elaborate dome looks like a honeycomb) • 4 quadrants represent the 4 rivers of paradise

Purse lid from Sutton Hoo ship burial 600-800 AD • relatively small, easy to transport (appropriate for a migrating society) • decorated with gold and various semi-precious stones • compartments formed called “cloisonné” • motifs from natural world depicted abstractly (ducks, humans, intertwining objects)

Animal Head from the Oseberg Norway ship burial 600-800 AD • carved out of wood • abstract interlace of forms (typical early medieval style) o surface decorations that delight the eye

Wood-carved portal of the stave church at Urnes 600-800 AD • intertwined animal forms frame the doorway o surface decoration that delights the eye

Man (symbol of St. Matthew) Book of Durrow 600-800 AD • page from a manuscript (book of durrow) • Matthew is represented as a human (since he starts his gospel with the human genealogy of Christ) • Very abstract (interlace of border & Matthew’s cloak)

Cruciform page from the Lindisfarne Gospels 600-800 AD • carpet page from manuscript (Lindisfarne Gospels) • cruciform pattern filled with abstract geometry & animal interlace • whole image looks like cloisonné (with red partitioning sections) • surface decorations that delight the eye

Saint Matthew from the Lindisfarne Gospels 600-800 AD • Matthew depicted as an evangelist writing, sitting • Angel above him is Matthew’s muse • Writing says “image of a man” & “Saint Matthew” • Cloisonné drapery (divided into compartments)

Chi-Rho page from the Book of Kells 600-800 AD • opening page of the gospel of Matthew • typical to have first letter of the first word be very elaborate • abstract geometry & interlaced animals (meant to delight the eye)

Palace Chapel of Charlemagne – Aachen, Germany 9th Century AD • Architect- Otto of Metz • Palace chapel was connected to the palace by a corridor • Axial design • Multiple series of triple arches (with alternating stone technique in each arch) • Charlemagne’s throne would have been in the center

St. Matthew from the Coronation Gospels from Aachen, Germany 9th Century AD • created under Charlemagne • purple dye used (only for rich, very elaborate) • Matthew is calmly sitting on a stool with a cushion, writing • Matthew’s anatomy is expressed by drapery pulling against it (but not classical style)

St. Matthew from the Ebbo Gospels- France 9th Century AD • created under Charlemagne • Matthew feverishly working on a stand (wired hair, intense & concerned eyes, lines in neck, drapery even nervous & unable to read) • Possibly showing the infusion of the holy spirit in Matthew • Muse in upper right-hand corner

Front cover of the Lindau Gospels 9th Century AD • created under Charlemagne • bejeweled border • interior divided into a cruciform geometric design • two angelic figures in each rectangle • Christ in the center doesn’t appear to be suffering (instead he looks youthful)

Nave of the church of Saint Cyriakus- Gernrode, Germany 10th Century AD • a nave, two isles, clerestory lighting, alter at end (all familiar) • tripartite nave arrangement elevation (clerestory, gallery (which was an innovation), nave arcade) • cruciform shaped church • alternating support system (column, pier, column, pier) • wooden roof

Saint Michael’s – Hildensheim, Germany 10th Century AD • built by Bishop Bernward • this structure was a continuation in the development of architectural forms (octagons, squares, cylinders, cones) • side entrances (seem to be experimental)

Bronze Doors in Saint Michael’s – Hildensheim, Germany 10th Century AD • by Bishop Bernward • complex iconography • tells the whole story of salvation (starting with the creation, ending with the resurrection of Christ) • start at the top left, read down the left side & up the right side

The Crucifix of archbishop Gero 10th Century AD • enormous – first monumental sculpture since antiquity • made of wood • shows dead Christ after his suffering (showed with minimal amounts of blood)

Annunciation to the Shepherds 10th Century AD • This manuscript illumination shows an angel telling the shepherds to find baby Jesus. • The angel is gesturing down to a shepherd (who gestures back) • Lively gestures & drapery o gestures, drapery • figures seem put together with pieces (cloisonné style continues)

St. Eteinne – Vignory 11th-12th Century AD • three part nave elevation (clerestory, alternating pier column system, nave arcade) • Wooden truss supports roof • Side aisle on each side of nave • Thick walls (roman arches have multiple layers & compound piers) • Windows have arch forms, and splay out on the inside (to allow more light in)

St. Sernin - Toulouse 11th-12th Century AD • pilgrimage church with several radiating chapels • central nave flanked by two side aisles on each side • cruciform shape (created by transept) • barrel vault over nave (very Romanesque) • no clerestory in this church

Cloister at Saint-Pierre – Moissac, France 11th-12th Century AD • big capitals and arches (pointed) • alternating single and double arches • piers at the corners (opportunity for sculpture)

Abbey church at Cluny (Cluny III) 11th-12th Century AD • nave and two side aisles on each side • three part nave elevation (arcade, tribune, clerestory windows) • Barrel vault with arches across to accentuate piers

Abbey church of Notre Dame – Fotenay 11th-12th Century AD • Cistercian order (simple interior) • Single story nave • compound piers • pointed arches used

Speyer Cathedral - Germany 11th-12th Century AD • nave with side aisles • round arches (typical Romanesque) • alternating support system • two part nave elevation (clerestory and nave arcade) • new development: groin vault on top of a nave

Sant’ Ambrogio – Milan 11th-12th Century AD • proliferation of Romanesque arches (3=trinity reference?) • nave and side aisles • groin vault covers bay

Pisa - Italy 11th-12th Century AD • leaning tower is the bell tower that is part of the church • baptistery (solitary, surrounded by a blind arcade, pulpit inside, alternating pier column system, good acoustics) • cathedral has an elaborate façade

Christ in Majesty by Bernardus Gelduinus 11th-12th Century AD • Right hand of Christ blesses while the left hand holds a book (which says “peace be with you”) • Drapery is similar to Byzantine style (simplified and schematic) • Compartmentalizing of elements (such as the drapery) • Mandorla provides a frame

Abbey Church of St. Pierre – Moissac, France 11th-12th Century AD • Cloister o Piers provide space for sculpture o Sides are enclosed in a frame of columns

Abbey Church of St. Pierre – Moissac, France 11th-12th Century AD • South Portal o Shows the story of Lazarus the beggar (with dogs licking his sores) o Figures in sculpture are life-sized o Example of fitting the architecture o Entwined animals on trumeau o Romanesque portal: tympanum, lintel, jambs, trumeau, voussoirs, archivolts • Archivolts are decorated with floral designs • Tympanum shows 24 elders

Cathedral of Autun, France by Gislebertus 11th-12th Century AD • Abstract drapery (has agility and motion) • Figures are disproportionate • Depicts the end of the world o Angels frame Christ (central characters) • Heaven bound on left, Hell bound on right o People rising up out of graves

Ste. Madeleine – Vezelay, France 11th-12th Century AD • Political meaning: Crusades (Christ is the Lord of all time) • Christ in the center flanked by the apostles (Christ instills the holy spirit in them) • Eight compartments around the tympanum show the heathens waiting to be converted

Amiens Cathedral - France 1140-1300 AD • This high gothic cathedral was designed by Robert du Luzarches & was constructed in phases (evident by the two different sized towers) • Represents the full maturity of the high gothic style • The high gothic structure is supported by flying buttresses & 4 part ribbed pointed vaults • Pointed arches allowed for taller structures (everything pointed up to make building taller) • Rose windows (typical high gothic style) • nave elevation: tripartite (clerestory, triforium, nave arcade) structure of a nave • chevet capped with webbed vaults & covered with stained glass (which let light in, increasing the spiritual experience of those in the church) Other images:

Abbey Church of St. Denis - France 1140-1300 AD • this is the ambulatory, designed to create an atmosphere for worshippers that is otherworldly • origin of stained glass • ribbed and pointed webbed vaults (let in maximum amount of light) • chevet constructed first (so funds don’t run out and so mass can happen as soon as possible)

Chartres Cathedral - France 1140-1300 AD • This plan set standards for high gothic style with its tripartite nave elevation (clerestory, triforium, nave arcade). • Notre Dam church → “our lady” : dedicated to Mary • collonettes connect each part of nave elevation and turn into vaults • plan set standards for high gothic style (innovative) • façade: o north portal: sculptures of old testament kings (tender and peaceful emotions) ; pre-fire o south portal: more portrait-like More images: http://t0.gstatic.com/images?q=tbn:ANd9GcSdbp8MGUMuxzc14G96_ccpdrdg-U5K3HePUdIMnVbIGJf04cPW http://t1.gstatic.com/images?q=tbn:ANd9GcTj5mhaYT06Q6rStuiAqzUglhLzAmPd2IR3VOR0kEK-3_Wo624c_A

Laon Cathedral - France 1140-1300 AD • experimental structure with its 4 parts nave elevation (nave arcade, gallery, triforium, clerestory) & square apse • lingering Romanesque features (semi-circle arches) • otherwise very gothic (rose window, pointed structure) • 6 part vaults (each rib comes down and becomes a collonette, connecting different levels of the nave elevation) Interior: http://t3.gstatic.com/images?q=tbn:ANd9GcRYVqGmG9qbiI4ySn9JgmMePx9SA6xOtiQsETNF274iXTeJ4lr7

Notre-Dame of Paris 1140-1300 AD • dedicated to Virgin Mary • first example of flying buttresses used at a large monument • rose window & gallery of statues (typical high gothic style) • 6 part vaults • 3 part nave (nave arcade, triforium, clerestory)

Sainte-Chapelle – Paris 1140-1300 AD • high gothic chapel commissioned by Louis IX • radiant style (seemingly limited structural support, mostly windows) • Architectural reliquary (holds very expensive and important relics) • no flying buttresses, strip buttresses instead • intimate space but still transforms light and reduces mass of walls

Virgin and Child – Notre Dame, Paris 1140-1300 AD • Mary standing in S curve posture (very elegant) • Appears as a worldly queen (reminded of power of French monarchy) • Stylized, but look human

God as Architect 1140-1300 AD • introductory page of a moralised bible • we see an image of God as an architect (holding a compass, standing over his design of the universe (sun and moon)) • suggests that architects in the time period were highly valued

Blanche of Castile 1140-1300 AD • part of a moralised bible • image describes the power held by Blanche and Louis IX (who are sitting against a gold background) o Held spiritual authority as well as political power • Image of two monks creating a bible on the bottom layer

Psalter of Saint Louis – Paris 1140-1300 AD • animal interlace in border • Architectural structure in background looks like Sainte-Chapelle • Abraham greeting 3 angels (continuous narrative separated by tree), then we see Abraham presenting them food • Angel in red and blue has an S shaped posture

Salisbury Cathedral 1220-1520 AD • innovative: two transepts with great projections & a square end & cloister next to it & fewer flying buttresses (due to less height) & sole high tower & less vertical emphasis than France (many more horizontal elements instead) • continued: bay system and 4 part vaulting system • west end is a screen that screens the nave and side aisle (separates rather than indicates what is behind it)

Gloucester Cathedral, Choir 1120-1520 AD • Characteristically English: Choir with flat eastern end & thicket of rib vaulting (which creates a pattern that doesn’t allow you to see the structure) • Small rose-like windows & stained glass windows (lots of light coming in) • Characteristically French: Vertical emphasis (eye is carried upward)

Chapel of Henry VII 1120-1520 AD • in Westminster Abbey • still have thicket of vaulting in ceiling area (but almost looks like its made of latex, very elaborate) • polished wood and colored flags

Tomb of Edward II 1120-1520 AD • In Gloucester Cathedral • Around the sarcophagus is gothic style (spires that rise up, pointed arches, mini cathedral) • Angel squatting down next to Edwards head (suggesting he’s been led on to paradise) • Function of chapel is for prayers to be offered (perpetual monument to King Edward II)

Cologne Cathedral 1180-1280 AD • borrowing French Gothic design (big façade with two towers, lots of flying buttresses, a chevet, single transept) • long building history (600 years) • interior: tall nave, collonettes, chevet, lamp-shaped windows (still French gothic)

Saint Elizabeth – Marburg Germany 1180-1280 AD • alternative German approach: “Hall church” (side aisles are the same height as the nave) • no clerestory or triforium (no need for clerestory, lots of high windows allow light in) • 3 part window structure (two lamp-shaped and one rose window) & dematerializing of wall

Death of the Virgin 1180-1280 AD • this relief in a tympanum shows the death of Mary • round arch structure is Romanesque but figures inside are Gothic (Christ blessing Mary with his right hand and holding Mary’s soul in his left hand & everyone around is mourning (apostles and Mary Magdalen) • Another Gothic feature: human interaction (emotional exchange with body language and gesture)

Ekkehard and Ute 1180-1280 AD • Statues inside the Naumburg Cathedral • Depicts a local military governor (Ekkehard) and his wife (Ute) • Over life-sized & posing & almost free standing • Architectural gothic canopies above them • Significant: because they’re on the inside of the cathedral, the paint is largely conserved (shows that ancient statues were painted) • Woman is aloof (distant eyes, cloak shields her from outside world)

Bamberg Rider 1180-1280 AD • knight riding on a horse (very human, realistic) • equestrian statue, life-sized (HISTORY OF EQUESTRIAN STATUES) • sitting on a high-backed saddle, stirrups are there & reins (possible real leather or metal) • architectural gothic canopy above

Klosterneuberg Altar 1180-1280 AD • by Nicholas of Verdun • Sacrifice of Isaac is dramatic, human contact (Abraham’s hand is on Isaac’s head, angel stops Abraham’s sword) • Enamel and gold inlay • Different units of body (lingering compartmentalization) • Abraham’s body revealed by drapery

Santa Croce, Florence 14th Century AD • Gothic elements in interior: pointed arches in the nave arcade (but no compound piers leading into upper nave & only 2 part nave elevation), windows are Gothic style (rose window and lamp-shaped window) but small (so as not to let in too much heat & to create more wall space to decorate with frescos) • Roof is made of timber trusses (quicker construction) • Broad and high arches (good visual communication between nave and aisles)

Florence Cathedral 14th Century AD • Duomo: main cathedral in an Italian city • Windows allow enough light to come in without making interior too hot • 4 large units inside with cross vaults and side aisles • Long nave leads to an octagonal crossing with lower domes attached to sides

Pulpit in Baptistery at Pisa 14th Century AD • by Nicola Pisano, classical style • Where priests speak from • Annunciation to Mary, nativity scene, first bathing of Jesus, adoration of shepherds

Pulpit in Pistoia 14th Century AD • By Giovanni Pisano • Stacked figures (not classical) • Same scene as his father with different style (Annunciation to Mary, nativity scene, first bathing of Jesus, adoration of shepherds)