Sequence of Gothic Styles
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Sequence of Gothic Styles: France
The designations of styles in French Gothic architecture are as
follows:
Early Gothic
High Gothic
Rayonnant
Late Gothic or Flamboyant style
These divisions are effective, but debatable. Because Gothic
cathedrals were built over several successive periods, each period
not necessarily following the wishes of previous periods, the
dominant architectural style changes throughout a particular
building. Consequently, it is often difficult to declare one
building as a member of a certain era of Gothic architecture. It is
more useful to use the terms as descriptors for specific elements
within a structure, rather than applying it to the building as a
whole. |
Early Gothic:The East end of the Abbey Church of St Denis
High Gothic:Amiens Cathedral
The main body of Chartres Cathedral
Notre-Dame of Laon
Notre Dame de Paris
Reims Cathedral
Rayonnant:
The nave of the Abbey Church of St DenisLate Gothic:The north tower of Chartres Cathedral
The rose window of Amiens Cathedral
The west facade of the Rouen Cathedral
Church of St. Maclou, Rouen.
The south transept of the Cathédrale Saint-Pierre de Beauvais
French neo-GothicFrench neo-Gothic had its roots in a minor aspect of Anglomanie,
starting in the late 1780s. In 1816, when French scholar Alexandre
de Laborde said "Gothic architecture has beauties of its own," the
idea was novel to most French readers. Starting in 1828, Alexandre
Brogniart, the director of the Sèvres porcelain manufactory,
produced fired enamel paintings on large panes of plate glass, for
Louis-Philippe's royal chapel at Dreux. It would be hard to find a
large, significant commission in Gothic taste that preceded this
one, save for some Gothic features in a handful of jardins à
l'anglaise.
The French Gothic revival was set on sounder intellectual footings
by a pioneer, Arcisse de Caumont, who founded the Societé des
Antiquaires de Normandy at a time when antiquaire still meant a
connoisseur of antiquities, and who published his great work on
Norman architecture in 1830 (Summerson 1948). The following year
Victor Hugo's Notre Dame de Paris appeared, in which the great
Gothic cathedral of Paris was at once a setting and a protagonist in
a hugely popular work of fiction. In the same year the new French
monarchy established a post of Inspector-General of Ancient
Monuments, a post filled in 1833 by Prosper Merimée, who became the
secretary of a new Commission des Monuments Historiques in 1837.
This was the Commission that instructed Eugène Viollet-le-Duc to
report on the condition of the abbey of Vézelay in 1840.
Meanwhile, in Germany, interest in the Cologne Cathedral, which had
begun construction in 1248 and was still unfinished at the time of
the revival, began to reappear. The 1820s Romantic movement brought
back interest, and work began once more in 1824, significantly
marking a German return of Gothic architecture.
Because of Romantic nationalism in the early 19th century, the
Germans, French and English all claimed the original Gothic
architecture of the 12th century as originating in their own
country. The English boldly coined the term "Early English" for
Gothic, a term that implied Gothic architecture was an English
creation. In his 1832 edition of Notre Dame de Paris Victor Hugo
said "Let us inspire in the nation, if it is possible, love for the
national architecture", implying that Gothic was France's national
heritage. In Germany with the completion of Cologne Cathedral in the
1880s, at the time the world's tallest building, the cathedral was
seen as the height of Gothic architecture. In Florence, the Duomo's
façade was demolished in 1587-1588, and stood bare until 1864, when
a competition was held to design a new facade suitable to Arnolfo di
Cambio's structure and the fine campanile next to it. This
competition was won by Emilio De Fabris, and work on his polychrome
design and panels of mosaic was begun in 1876 and completed in 1887. |
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