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"Gothic architecture"
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Late Gothic architecture : its evolution, extinction, and reception
In this book, Robert Bork offers a sweeping reassessment of late Gothic architecture and its fate in the Renaissance. In a chronologically organized narrative covering the whole of western and central Europe, he demonstrates that the Gothic design tradition remained inherently vital throughout the fourteenth and fifteenth centuries, creating spectacular monuments in a wide variety of national and regional styles. Bork argues that the displacement of this Gothic tradition from its long-standing position of artistic leadership in the years around 1500 reflected the impact of three main external forces: the rise of a rival architectural culture that championed the use of classical forms with a new theoretical sophistication; the appropriation of that architectural language by patrons who wished to associate themselves with papal and imperial Rome; and the chaos of the Reformation, which disrupted the circumstances of church construction on which the Gothic tradition had formerly depended. Bork further argues that art historians have much to gain from considering the character and fate of late Gothic architecture, not only because the monuments in question are intrinsically fascinating, but also because examination of the way their story has been told?and left untold, in many accounts of the \"Northern Renaissance\" can reveal a great deal about schemes of categorization and prioritization that continue to shape the discipline even in the twenty-first century.
Book
Gothic architecture and sexuality in the circle of Horace Walpole
Gothic Architecture and Sexuality in the Circle of Horace Walpole shows that the Gothic style in architecture and the decorative arts and the tradition of medievalist research associated with Horace Walpole (1717–1797) and his circle cannot be understood independently of their own homoerotic culture. Centered around Walpole's Gothic villa at Strawberry Hill in Twickenham, Walpole and his \"Strawberry Committee\" of male friends, designers, and dilettantes invigorated an extraordinary new mode of Gothic design and disseminated it in their own commissions at Old Windsor and Donnington Grove in Berkshire, Lee Priory in Kent, the Vyne in Hampshire, and other sites.
Matthew M. Reeve argues that the new \"third sex\" of homoerotically inclined men and the new \"modern styles\" that they promoted—including the Gothic style and chinoiserie—were interrelated movements that shaped English modernity. The Gothic style offered the possibility of an alternate aesthetic and gendered order, a queer reversal of the dominant Palladian style of the period. Many of the houses built by Walpole and his circle were understood by commentators to be manifestations of a new queer aesthetic, and in describing them they offered the earliest critiques of what would be called a \"queer architecture.\"
Exposing the role of sexual coteries in the shaping of eighteenth-century English architecture, this book offers a profound and eloquent revision to our understanding of the origins of the Gothic Revival and to medievalism itself. It will be welcomed by architectural historians as well as scholars of medievalism and specialists in queer studies.
eBook
Gothic antiquity : history, romance, and the architectural imagination, 1760-1840
Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840' provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study ofthe intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, 'Gothic Antiquity' seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. 0Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. 0Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of thenation's past-a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. 0.
Book
The stones of Venice : introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona
\"The Stones of Venice examines Venetian architecture in detail, describing for example over eighty churches. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city\"--Wikipedia, June 24, 2019. https://en.wikipedia.org/wiki/The_Stones_of_Venice_(book)
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Paper Thin? The Evidence for 12th-Century Gothic Design Drawings
No Gothic design drawings on paper or parchment have survived from the 12th century, and only a few have survived from the 13th century. For this reason, most recent scholars tend to concur at least broadly with Robert Branner, who argued in an influential 1963 article that such drawings were first produced only after 1200. This conclusion deserves critical re-examination, however, for two principal reasons. First, the continuity of the Gothic architectural tradition in both time and space strongly suggests that early Gothic builders used similar techniques to those used by their late Gothic successors. From this perspective, the lack of surviving design drawings from before 1200 seems likely to reflect their disappearance over time, rather than their not being used in the crucial period when the conventions of Gothic design and construction were first coming into focus. A second argument for the use of drawings in the 12th century comes from consideration of early Gothic buildings, whose complex and carefully calibrated forms would be literally inconceivable without such graphic aids. Churches such as Saint-Denis Abbey and Notre-Dame in Paris, for example, already display a level of geometrical sophistication and coherence that argues strongly for the use of scaled drawings in their original conception.
Journal Article
Virgin Mary as the “Gate of Heaven” with Angelic Musicians in the Doorway of the Apostles at the Cathedral of Valencia
The Door of the Apostles at the Cathedral of Valencia stands as a treasure of sacred Gothic architecture and sculpture. A modification to its original structure in 1599 removed the mullion and the stone image of the Virgin that is to be found today in the tympanum. However, regardless of her location, Mary Mater Dei presided over everything that was happening in the doorway. She guided those who crossed the temple’s threshold, placed as she was on the mullion so as to appear as a Porta Coeli. In addition, she was the conductor of the characters on the door such as apostles, prophets, patriarchs, virgins and angelic sonadors (sound-makers). The latter appeared playing various instruments from both profane and sacred medieval traditions. Their location in the tympanum, playing a role in the meaning of the message, showed the importance of music as a vehicle for conveying the revelation of the Incarnation of Christ.
Journal Article
American gothic art and architecture in the age of romantic literature
American Gothic Art and Architecture in the Age of Romantic Literature analyses the impact British Gothic novels and historical romances had on American art and architecture in the Romantic era. Key figures include Thomas Jefferson, Washington Allston, Alexander Jackson Davis, James Fenimore Cooper, Washington Irving, Thomas Cole, Edwin Forrest and Nathaniel Hawthorne. Hawthorne articulated the subject of this book when he wrote that he could understand Sir Walter Scott's romances better after viewing Scott's Gothic Revival house Abbotsford, and he understood the house better for having read the romances. This study investigates this symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities.Contents
Introduction
Chapter One. Gothic Monticello: Thomas Jefferson's Garden Narratives
Chapter Two. 'Banditti Mania': The Gothic Haunting of Washington Allston
Chapter Three. 'Arranging the Trap Doors': The Gothic Revival Castles of Alexander Jackson Davis
Chapter Four. Old Dwellings Transmogrified: The Homes of James Fenimore Cooper and Washington Irving
Chapter Five. Gothic Castles in the Landscape: Thomas Cole, Sir Walter Scott And the Hudson River School of Painting
Chapter Six. The Theatrical Spectacle of Medieval Revival: Edwin Forrest's Fonthill Castle
Conclusion. 'Clap It Into a Romance: ' Nathaniel Hawthorne's Gothic Houses
eBook