03 — ARTWORK
Exterior view
- MEDIUM
- Photo
- TYPE
- Religious
PALETTE
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- FILE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The 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. at Verden an der Aller near Bremen represents a move towards 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 value of the building from the perspectiveThe method of representing three-dimensional objects on a flat surface. Perspective gives a picture a sense of depth. The most important form of perspective in the Renaissance was linear perspective (first formulated by the architect Brunelleschi in the early 15th century), in which the real or suggested lines of objects converge on a vanishing point on the horizon, often in the middle of the composition (centralized perspective). The first artist to make a systematic use of linear perspective was Masaccio, and its principles were set out by the architect Alberti in a book published in 1436. The use of linear perspective had a profound effect on the development of Western art and remained unchallenged until the 20th century. of architectural history lies in the fact that it possesses a polygonal hall 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., that is a a choir which is of the same height in all its parts, a form not seen before. Verden anticipated the hall churches built by the Parlers, the greatest architects of Late Gothic in German lands.
The photo shows the choir.
CITE THIS RECORD — BIBTEX
@online{wga-r84390b4f8d1ad6,
author = {Krén, Emil and Marx, Daniel},
title = {Exterior view by ARCHITECT, German},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/architect-german-r58f966d9014e51/exterior-view-r84390b4f8d1ad6},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
