03 — ARTWORK
Exterior view
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PALETTE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The direct inheritors of the innovative ideas in Lincoln are found in the north of England, where from around 1200 there was a building boom which included cathedrals, collegiate churches, and monasterythe complex of buildings used by a community of monks. Among the main elements of the complex are the church, cloister, chapter house (used by the governing body), refectory (dining room) and dormitory (sleeping quarters). churches in equal numbers. There was a real competition in the rebuilding of choirs. A particularly important theme in the buildings of the north was the fronts at the east end of the choirs and on the transepts. There arose a series of impressive soaring flat east fronts.
The greatest of these fronts is the northern transeptsection of a church at right-angles to the nave and in front of the choir. of York Minster. Above the wall arcading, five particularly tall and slender lancet windows rise up, taking up almost the whole height of the end wall, these are the famous "Five Sisters" which are among the tallest lancet windows in England. Characteristic of north of England 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. is the 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). consisting of four openings under one large archThe pointed arch is widely regarded as the main identifiable feature of Gothic architecture (distinct from the round arch of the Romanesque period). The three most common Gothic arches are the Equilateral, Lancet and Tudor..
The photo shows the Minster from the south.
CITE THIS RECORD — BIBTEX
@online{wga-rdaa378906960eb,
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-rdaa378906960eb},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
