Gothic style in book miniatures presentation. Presentation on the theme "Gothic"

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Monuments of Gothic architecture

The largest monument of Gothic architecture is the Cathedral of Notre-Dame de Paris - Notre-Dame de Paris (construction began in 1163, ended in the 14th century).

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Cathedral in Reims, France.

Started in 1211, finished in the 15th century. “Reims (length 150 meters, height 80 meters), one of the largest and tallest Gothic cathedrals.

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Cathedral in Chartres, France

The original building of the cathedral in Chartres was built in the 12th century. The western facade of the cathedral was completed in 1170 and fortunately escaped complete destruction during the fire of 1194 (the rest of the building was destroyed).

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The pearl of Cologne and a masterpiece of Gothic architecture

Gothic is the crown of the Middle Ages, bright colors, gilding, the shine of stained glass, expression, prickly needles of spiers soaring into the sky, a symphony of light, stone and glass...

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The main stimulus for the formation of Gothic was the unique combination of the Christian worldview, the traditions of ancient culture, the architecture of Rome, Latin writing, book miniatures, and Roman-Celtic artistic crafts. The development of the new style was facilitated by the rapid growth of European cities and trade...

The word comes from Italian. “gotico” - unusual, barbaric; first used as an expletive. For the first time, the concept in the modern sense was used by Giorgio Vasari in order to separate the Renaissance from the Middle Ages.

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Early Gothic.

• St. Elizabeth's Church
• Heyday.
• Salisbury Cathedral
• Late Gothic.
• Cathedral of Saints Peter and Paul in Nantes

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The Gothic style mainly manifested itself in the architecture of temples, cathedrals, churches, and monasteries. It developed on the basis of Romanesque architecture.

Gothic is characterized by:

Arches with pointed tops,

Narrow and tall towers and columns,

Richly decorated facade with carved details and multi-color stained glass lancet windows.

All style elements emphasize verticality.

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• A flying buttress is an external stone thrust arch that transfers the thrust of the arches of the main nave to supporting pillars spaced from the main body of the building - buttresses. The flying buttress ends with an inclined plane in the direction of the roof slope. In the early period of Gothic development, flying buttresses were found hidden under the roofs, but they interfered with the lighting of the cathedrals, so they were soon taken outside and became open to view from the outside. Flying buttresses can be two-span, two-tiered, or a combination of both of these options.
• A buttress is a vertical structure in Gothic, a powerful pillar that contributes to the stability of the wall by the fact that its mass counteracts the thrust of the vaults. In medieval architecture, they figured out not to lean it against the wall of the building, but to take it outside, at a distance of several meters, connecting it to the building with spanned arches - flying buttresses. This was enough to effectively transfer the load from the wall to the supporting columns. The outer surface of the buttress could be vertical, stepped or continuously inclined.
• A pinnacle is a pointed turret that was used to load the top of the buttress at the point where the flying buttress adjoined it. This was done to prevent shear forces.
• The abutment pillar could be of a simple cross-section, or it could be a “bundle of columns.”
• Rib - a rib of a vault arch, protruding from the masonry and profiled. The system of ribs forms a frame supporting the lightweight masonry of the vault.

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With the advent of the cross vault, a system of columns, flying buttresses and buttresses, cathedrals acquired the appearance of huge openwork fantastic structures. Absorbing the loads with a system of buttresses made it possible to make the walls thinner.

Relieving the walls of the load made it possible to cut them with huge windows - this stimulated the art of stained glass. The interior of the temple became tall and bright. So technical necessity led to the creation of a new design, and that, in turn, led to an original artistic image.

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The church of the Saint-Denis monastery, designed by Abbot Suger, is considered the first Gothic architectural structure. During its construction, many supports and internal walls were removed, and the church acquired a more graceful appearance...

Stained glass decoration

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Notre Dame Cathedral at night

The main creators of Notre Dame are considered to be two architects - Jean de Chelles, who worked from 1250 to 1265, and Pierre de Montreuil, who worked from 1250 to 1267.

The cathedral houses one of the great Christian relics - the Crown of Thorns of Jesus Christ.

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The interior of the cathedral is dominated by the gray color of the stone from which the walls and vaults of the temple are made.

Like other Gothic churches, Notre-Dame de Paris has no wall paintings, and the only source of color in the monotonous gray interior is the numerous stained glass windows inserted into the casements of the tall lancet windows.

Sunlight, penetrating through them, floods the temple with a whole rainbow of colors. This play of light softens the monotony of the building and gives the interior of the cathedral an enchanting luxury and at the same time mystery.

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Construction: 1248-1437, 1842-1880

With a height of 157 meters, it was the tallest building in the world from 1880 to 1884.

It ranks third in the list of the tallest churches in the world.

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In 1248, Archbishop of Cologne Konrad von Hochstaden laid the first stone for the foundation of Cologne Cathedral...

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In 1164, the emperor from the Hohenstaufen dynasty, Friedrich Barbarossa, presented the relics of the three wise men, which he had brought to Cologne from Milan, as a gift to the Cologne Archbishop Rainald of Dassel...

Since then, pilgrims from all over Europe have flocked to the city to venerate the relics of the Magi...

The crowns of the three wise men adorn the city coat of arms to this day.

Golden reliquary with the relics of the three wise men

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The Archbishop of Dassel also brought from Milan to Cologne a carved image of the Madonna, which was considered miraculous and deeply revered by believers. This sculpture was apparently destroyed by a fire in the cathedral in 1248.

The Milan Madonna is considered one of the most beautiful sculptural creations of the mature Gothic period.

Milan Madonna

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Gero's Crucifixion

This 2-meter oak cross was donated to the cathedral by Archbishop Gero (969-976).

The peculiarity of this crucifix lies not so much in the monumental dimensions of the cross, but in the highest realism of the image, unusual for that time.

The lifeless body of Jesus is stretched out on the cross. Christ is depicted not at the moment of triumph, but at the moment of death, which will bring deliverance to the human race.

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During World War II, when almost all of Cologne was destroyed by Allied bombing, only Cologne Cathedral was not damaged. According to the unspoken agreement of the pilots, the cathedral was preserved as a geographical landmark.

The cathedral architect Gerhard, unable to complete the drawings of the future cathedral, decided to invite the devil to help.

Satan immediately appeared and offered an exchange: the architect receives the long-awaited drawings, but in return gives his soul. The deal had to be completed after the first roosters crowed.

The architect was in a hopeless situation and agreed. But the architect’s wife overheard the conversation and decided to save her husband’s soul and get the drawings of the building.

She got up early in the morning and crowed instead of a rooster. The devil immediately appeared and handed over the treasured drawings. The deception was then revealed, but it was too late.

There is a continuation of the first legend: when the devil found out about the deception, he said: “May the world end with the last stone on this cathedral!” Since then, the cathedral has not stopped being built and completed: when construction ends, the Apocalypse promised by the devil will come.

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Ca' d'Oro or Palazzo Santa Sofia

Palace in Venice, on the Grand Canal in the Cannaregio area.

The second name of the palace is “Golden House”, since gold leaf was used in the initial decoration.

The palace is considered an example of Venetian Gothic architecture.

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The Gothic-style building was built in the 15th century, between 1425 and 1440, by the architects Giovanni Bona and his son Bartolomeo Bona, commissioned by the patrician Marino Contarini.

It is considered the most elegant of the palaces built in the Venetian style.

From 1927 to this day, the Franchetti Gallery has been located in the palace.

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Canterbury Cathedral

Gothic Cathedral in Canterbury.

The official name is the Cathedral and Metropolitan Church of Christ at Canterbury.

This is the main Anglican church in Great Britain. The see of the Archbishop of Canterbury is located here.

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Central nave of the cathedral

The composition of the building is very complex, it consists of a large number of rooms following each other.

The cathedral is surrounded by extensions, so from the outside it does not make a solid impression.

A huge tetrahedral tower above the middle cross reigns over many buildings of different periods.

Two more towers rise above the cathedral on the west side. The large, bright space of the nave is framed on both sides by slender colonnades.

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The huge lancet windows of the side naves with tracery patterns of the casements are among the tallest in England.

Here are the tombs of the Archbishops of Canterbury and many prominent figures of medieval England. The famous “Black Prince” Edward (died 1376), an outstanding English commander who won a number of major victories over the French in the early period of the Hundred Years War, is buried in Canterbury Cathedral.

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GOTHIC Gothic is a period in the development of medieval art in Western, Central and partly Eastern Europe from the 12th to the 15th-16th centuries. Gothic replaced the Romanesque style, gradually displacing it. The term "Gothic" is most often applied to a well-known style of architecture that can be briefly described as "intimidatingly majestic." But Gothic covers almost all works of fine art of this period: sculpture, painting, book miniatures, stained glass, fresco and many others.

Gothic style architecture The Gothic style is mainly manifested in the architecture of temples, cathedrals, churches, and monasteries. It developed on the basis of Romanesque, or more precisely, Burgundian architecture. In contrast to the Romanesque style, with its round arches, massive walls and small windows, the Gothic style is characterized by pointed arches, narrow and tall towers and columns, a richly decorated facade with carved details (vimpergi, tympanums, archivolts) and multi-colored stained glass lancet windows . All style elements emphasize verticality. With the advent of the Renaissance north and west of the Alps at the beginning of the 16th century, the Gothic style lost its importance. Almost all the architecture of Gothic cathedrals is due to one main invention of that time - a new frame structure, which makes these cathedrals easily recognizable.

Gothic style sculpture Sculpture played a huge role in creating the image of the Gothic cathedral. In France, she designed mainly its external walls. Tens of thousands of sculptures, from plinth to pinnacles, populate the mature Gothic cathedral. Late Gothic sculpture was greatly influenced by Italian art. Around 1400, Klaus Sluter created a number of significant sculptural works for Philip of Burgundy, such as the Madonna of the facade of the church of Philip's burial and the figures of the Well of the Prophets () at Chammol near Dijon. The works of Tilman Riemenschneider, Wit Stwosch and Adam Kraft are well known in Germany.

Gothic style painting The Gothic style in painting developed several decades after the appearance of elements of the style in architecture and sculpture. In England and France, the transition from the Romanesque style to the Gothic style occurred around 1200, in Germany in the 1220s, and in Italy only later around 1300. The Gothic period saw the heyday of book miniatures. With the advent of secular literature (chivalrous novels, etc.), the range of illustrated manuscripts expanded, and richly illustrated books of hours and psalms were also created for home use. Artists began to strive for a more authentic and detailed reproduction of nature. Prominent representatives of Gothic book miniatures are the Limburg brothers, court miniaturists of the Duke of Berry, who created the famous “Magnificent Book of Hours of the Duke of Berry” (circa). Since the last quarter of the 14th century, the visual arts of Europe have been dominated by a style later called International Gothic. This period was transitional to Proto-Renaissance painting.

Gothic in Italy Gothic came to Italy much later, only in the 15th century. and did not receive the same strong development as in France and Germany. Palazzo Ducale. Venice. It was founded back in the 9th century. as a defensive structure, but was subjected to fires several times, as a result of which it was rebuilt many times. The original square plan of the building with a large courtyard remained almost unchanged, and the current facades acquired their decor, reminiscent of the ornaments of Muslim buildings, by the beginning of the 15th century. The first through floor is formed by a light arcade, on the second floor it is supported by openwork columns with double spacing, on which a huge block of the third floor rests. For centuries, only this building in Venice was called a palazzo; all other palaces bore the modest name Ca (a shortened version of Casa, that is, just a house). It housed not only the residence of the Doge, but also the Council of the Republic, a court and even a prison. Ca d'Oro (Italian: Ca" dOro Golden House) in Venice. Located on the Grand Canal, this palace has undergone many changes, and very little of the 15th-century Gothic palace remains in the interior.

Gothic in Russia A unique example of Gothic buildings on the territory of Rus' is the Chamber of Facets of 1433 [source not specified 172 days] and, probably, the belfry of the St. Sophia Cathedral (1439) of Veliky Novgorod, associated in the Middle Ages with Western Europe. The belfry was rebuilt several times in the 16th-20th centuries. In the Middle Ages in Russia, which was in the sphere of influence of the Byzantine civilization, Gothic was practically unknown. A certain similarity with European Gothic can be seen in the architecture of the walls and towers of the Moscow Kremlin. Examples of medieval Gothic in Russia can be seen in the Kaliningrad region (former East Prussia). About twenty castles have survived here (see Castles of the Kaliningrad Region) and a large number of churches (see Churches of the Kaliningrad Region), but most of them are in ruins. In Kaliningrad itself, the medieval Cathedral and a large number of neo-Gothic monuments (15 city gates, churches) have been preserved.

Gothic in Poland The Gothic style spread in Poland during the 14th-15th centuries. In the south, in the Krakow region, Gothic of the French type dominated. German Gothic spread to the West and North of Poland. Gothic art became widespread in the cities of German colonists. The Teutonic knights, whose grand masters were often professional builders, adopted that specific style of Gothic architecture from the wealthy cities of the Hansa. Some of these buildings, the Church of the Mother of God in Danzig () and the most significant brick structure, the Palace of the Grand Masters in Marienburg (), had a great influence on construction in North-Eastern Poland. Czech Gothic art, represented by the students of Petr Parler, also had its influence. The late Gothic style flourished in Poland only in the 15th century. The best examples of painting include miniatures and ornaments in the manuscript, which contains the life of St. Jadwiga, created by Nicholas Pruss (in 1353). Bohemian miniature art, which was a combination of French and Italian traditions with original Czech elements, reached Poland only in the 15th century.

Gothic in Ukraine One of the most interesting periods in the history of architecture in Ukraine is the end of the 14th and first half of the 15th century. In the western lands, which suffered less than others from the Mongol-Tatar invasion, cities then grew, crafts and trade developed. Many settlers, mainly Germans, arrived in Ukrainian cities, bringing new stylistic forms to art, and in particular to architecture. Catholic churches predominated among places of worship. The Lviv Cathedral Church played a decisive role in the formation of the new style. The construction of the Latin Church began by the Lviv architect P. Shtecher in 1360, the work was continued by I. Grom and A. Rabish, and the construction was completed in 1479 by G. Shtecher. The Gothic verticality of the building is enhanced by the high gable roof. The tower on the main facade has a baroque finish and is located asymmetrically, since the second bell tower remained unfinished. In the interior, tall beamed columns support pointed arches and a vault with Gothic ribs; the walls and vault are covered with frescoes. Many works of memorial sculpture have been preserved in the interior and exterior decor of the building.

Spanish Gothic The environment in which the art of Spain developed in the Middle Ages was complex. The Iberian Peninsula was originally ruled by the Visigoths, a branch of the larger Gothic people. This architectural style throughout Europe is named after them. Spanish Gothic has distinctive features. Firstly, the influence of Moorish art. Secondly, it is characterized by diversity, despite common features. Over the centuries, there was a struggle for the return of power with the Moors (Reconquista). Before that, in the 11th century, the Romanesque style dominated in Spain, and it was preceded by the Asturian (pronounced Romanesque) style. Gothic spread unevenly throughout Spain. In Castile, Gothic works appeared already in the 13th century, in Catalonia in the centuries, and it penetrated into Andalusia only in the 2nd half of the 15th century. Catalonia developed its own version of Gothic. Buildings in Catalonia are distinguished by greater spatial freedom, breadth of plan, and a predominance of calm horizontal lines. Instead of sharp Gothic roofs, there are flat coverings along the ledges. Flying buttresses and buttresses do not stick out, but are often hidden inside.

Portuguese Gothic Portuguese Gothic is a style and period in the development of Gothic architecture in Portugal. Politically, this was a period of liberation from the rule of the Moors in the Iberian Peninsula. In Portugal, the Reconquista took place and ended earlier than in Spain. In centuries Intensive church construction began on the liberated lands. The Romanesque style, which preceded the Gothic, developed mainly under the influence of the French monastic orders, especially the Cistercian. But now it is gradually being replaced by the Gothic style. In contrast to the works of Spanish Gothic, Portuguese cathedrals have a greater spatial scope in their interiors. But at the same time, in the external facades the cathedrals are not distinguished by emphasized verticalism, but remain squat, like the Spanish ones. The cultures of these neighboring countries have many similarities.

Conclusion Gothic is the first pan-European style. In terms of brightness, expressiveness and paradox, it can only be compared with Baroque. In the twentieth century, Gothic became an international epithet. Everything elongated, pointed, stretching upward with all our might is perceived by us as Gothic: ancient Russian tented churches, expressionism of Novgorod icons and even American skyscrapers.

Sources

Gothic is an artistic style that completed the development of medieval art in Western, Central and partly Eastern Europe. Gothic reflected dramatic changes in the structure of medieval society. The leading architectural type was the city cathedral: the frame system of Gothic architecture (pointed arches rest on pillars; the lateral thrust of the cross vaults, laid out on ribs, is transferred by flying buttresses to the buttresses) made it possible to create cathedral interiors of unprecedented height and spaciousness, cutting through the walls with huge windows with multi-color stained glass windows. The upward thrust of the cathedral is expressed by openwork giant towers, lancet windows and portals, curved statues, and complex ornaments.

It is difficult to find suitable words to describe the impressions of the Gothic cathedral. They are tall and stretch to the sky with endless arrows of towers and turrets, wimpergs, phials, pointed arches. But what is more striking is not so much the height as the richness of the aspects that open up when you walk around the cathedral.

Gothic cathedrals are not only tall, but also very long: for example, Chartres is 130 meters long, and the transept is 64 meters long, and to walk around it you need to walk at least half a kilometer. And from every point the cathedral looks new. Unlike the Romanesque church with its clear, easily visible forms, the Gothic cathedral is vast, often asymmetrical and even heterogeneous in its parts: each of its facades with its own portal is individual. The walls are not felt, it is as if they are not there. Arches, galleries, towers, some platforms with arcades, huge windows, further and further - an endlessly complex, openwork play of openwork forms. And all this space is inhabited - the cathedral, both inside and outside, is inhabited by a mass of sculptures (in the Chartres Cathedral there are about ten thousand statues alone). They occupy not only portals and galleries, but they can also be found on the roof, cornices, under the vaults of chapels, on spiral staircases, appearing on drainpipes, on consoles.

In a word, the Gothic cathedral is a whole world.

It truly absorbed the world of a medieval city.

If even now, in modern Paris, Notre Dame Cathedral reigns over the city, and the architecture of Baroque, Empire, and Classicism fades before it, then one can imagine how even more impressive it looked then, in that Paris, among the crooked streets and small courtyards along the banks Seine.

Then the cathedral was something more than just a place of church service. Together with the town hall, it was the center of all public life in the city. If the town hall was the center of business activity, then in the cathedral, in addition to divine services, theatrical performances took place, university lectures were given, sometimes parliament met, and even small trade agreements were concluded. Many city cathedrals were so large that the entire population of the city could not fill it. Near the cathedral, as a rule, there were shopping arcades.

The needs of city life prompted the transformation of the closed, thick-walled, fortress-type Romanesque cathedral into such a spatial one, open to the outside. But for this it was necessary to change the design itself. And after the construction, a change in the architectural style occurred.

The turn to Gothic began with architecture, and only then began to spread to sculpture and painting. Architecture invariably remained the basis of the medieval synthesis of arts. If you compare typical buildings of the Romanesque and Gothic styles, it seems that they are opposite. Some are representatives of massiveness, others - lightness. But if we take the buildings of the transitional period, it is clear that Gothic originates from Romanesque roots.

It all started with the simplest cell, with a cell covered with a vault, a grass. They were square, and this set a certain limit on the expansion of the main nave. With such a ceiling system, the temple could not be spacious enough inside - it remained narrow and dark.

The architects' idea is to expand and lighten the vault system. Solid vaults are replaced by rib ceilings - a system of load-bearing arches. All the airiness, all the fabulousness of the Gothic structure has a rational basis: it stems from the frame system of the building. Medieval architects with brilliant intuition applied here the law of the parallelogram of forces. Based on this, the wall in the cathedral does not carry anything, and, therefore, there is no need to make it solid and blank. This is how through galleries, arcades, and huge windows appear. The galleries are used for the installation of statues, and the windows are used for monumental paintings made of colored glass. Medieval artists passionately lovedclean, bright, sonorous colors. This was reflected in the stained glass windows, miniatures, and coloring of the sculptures. These cathedrals, neither outside nor inside, seem overwhelming. They appear rather as the embodiment of the active life of a medieval city. They are designed for a crowd of people, so that life is in full swing around them. The interior of the cathedral is spacious, the transept almost merges with the longitudinal space. Thus, sharpboundary between clergy and visitors. The “sanctuary” ceases to be something inaccessible and hidden. The tombs are placed directly in the temple, and not in a dark underground crypt, as in Romanesque churches. The Gothic style is dramatic, but not gloomy or dull.

What were medieval cities like? The bulk of the urban population represented the most rebellious, freest strata of society. Craftsmen were no longer someone's servants; they united into independent unions and workshops.

Universities emerged in many cities.

Cathedrals and town halls were erected by order of city communes. They were built and completed for a long time - decades, or even centuries. All the fine decoration of Gothic cathedrals, including statues, reliefs, stained glass and altar paintings, all this was thought of as a kind of encyclopedia of medieval knowledge - of course, subordinate to theology. Moreover, each cathedral had its own theme. For example, Parisian - was dedicated to Our Lady and everything connected with it; Amiens - expressed the idea of ​​messianism: on its facade there are figures of prophets.

But the intentions of these visual theological encyclopedias were, in general, so vague and the allegories so conventional that under their shadow a wide variety of subjects and motifs found a place, including those very far from the church concept of the universe.

Under the hands of medieval stonecutters, dead stone comes to life and blooms with thousands of inflorescences. It is difficult to find in history more organic forms of synthesis of art that arise on this basis.

In most Gothic cathedrals, sculptural decoration prevailed over painting, with the exception of stained glass windows: this was again determined by the nature of the architecture, making the walls openwork and therefore unsuitable for frescoes.

Gothic painting did not develop in the form of wall painting, but mainly in miniatures of manuscripts and in paintings on altar doors. Altar painting developed more in those countries where Gothic architecture, for one reason or another, retained the relative massiveness and smoothness of the walls. Wonderful altarFor example, the medieval Czech Republic possessed painting.

In most European countries north of Italy, the Gothic style dominated for a long time. XV The century in the northern countries can be considered either late Gothic or proto-Renaissance. There is no big difference, because The Renaissance, for all its unconditional innovation, was a natural stage of medieval culture, into which it grew organically.