03 — ARTWORK
Exterior view
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
In December 1327 the body of the murdered king Edward II (reg 1307-27) was buried north of the high altar of Gloucester CathedralThe principal church of a province or diocese, where the throne of the bishop is placed. For reasons lost to time and tradition, a cathedral always faces west - toward the setting sun. The altar is placed at the east end. The main body, or nave, of the cathedral is usually divided into one main and two side aisles. These lead up to the north and south transepts, or arms of the cross, the shape in which a cathedral is usually formed.. Within a few years the place was marked by a monument; its tall and unprecedentedly complex spired canopy is one of the masterpieces of this predominantly English genreIn a broad sense, the term is used to mean a particular branch or category of art; landscape and portraiture, for example, are genres of painting, and the essay and the short story are genres of literature.. The popular cult that instantly arose was the major inspiration and source of finance for the remodelling of the eastern parts of the church from c. 1331. It marks the climax of Gloucester's architectural history and produced one of the most notable achievements of European Late GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. architecture.
The work was carried out in four separate phases: the south transeptsection of a church at right-angles to the nave and in front of the choir. (c. 1331-36), the liturgical choirthe part of a church interior, usually raised and set apart from the rest of the church, reserved for the clergy to pray together, or for choral singing. Since Carolingian times, "choir" has been the word for the part of the central nave of the church extending over the crossing (the place where nave and transept intersect), and including the apse (a niche in the wall, roofed with a half dome) that often stands at the end of this area. within the crossingthe area of a church where the nave is intersected by the transept. (c. 1337-51), the presbyteryThe raised space at the end of a church's nave which contains the high altar and is reserved for members of the clergy. (after 1351), and the north transept (after 1368). The building process entailed 'skinning' and refacing the RomanesqueStyle of art and architecture prevailing throughout most of Europe in the 11th and 12th centuries, the first style to achieve such international currency. The dominant art of the Middle Ages was architecture, and 'Romanesque', like 'Gothic', is primarily an architectural term that has been extended to the other arts of the period. As the name suggests, it indicates a derivation from Roman art, and sometimes Romanesque is used to cover all the developments from Roman architecture in the period from the collapse of the Roman Empire until the flowering of the Gothic roughly AD 500-1200. More usually, however, it is applied to a distinctive style that emerged, almost simultaneously, in several countries - France, Germany, Italy, Spain - in the 11th century. It is characterized most obviously by a new massiveness of scale, reflecting the greater political and economic stability that followed a period when Christian civilization seemed in danger of extinction. Romanesque painting and sculpture are generally strongly stylized, with little of the naturalism and humanistic warmth of classical or later Gothic art. The forms of nature are freely translated into linear and sculptural designs which are sometimes majestically calm and severe and at others are agitated by a visionary excitement that can become almost delirious. Because of its expressionistic distortion of natural form, Romanesque art, as with other great non-naturalistic styles of the past, has had to wait for the revolution in sensibility brought about by the development of modern art in order to be widely appreciated. main elevations. In the presbytery the main vessel was lengthened by demolishing the 11th-century ambulatories at ground-floor and galleryan upper story, similar to a tribune, running along the side of a building and open on one side to the interior; in a church (basilica) above the side aisles, over the ambulatory (central-plan building) and also over the west end. The gallery was used to keep certain groups of worshippers apart (women, noblemen). level. The eastern corners of the new easternmost baya vaulted division of a nave, aisle, choir, or transept along its longitudinal axis. are farther apart than the rest of the central vessel and the east window bows outwards. The result of these improvisations is one of the most extraordinary effects in medieval architecture, a great window wall wider than the space it lights, the full width of which cannot be seen from most viewpoints.
The photo shows the front view of the Cathedral.
CITE THIS RECORD — BIBTEX
@online{wga-r91c8a441007730,
author = {Krén, Emil and Marx, Daniel},
title = {Exterior view by ARCHITECT, English},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/architect-english-r55f06f516af62a/exterior-view-r91c8a441007730},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
