Gothic architecture.
Gothic- this is a period in the development of medieval art, covering almost all areas of material culture and developing in the Western, Central and partly of Eastern Europe from XII to XV centuries. Gothic replaced the Romanesque style, gradually displacing it. Although the term "Gothic style" is most often applied to architectural structures, Gothic also encompassed sculpture, painting, book miniatures, costume, ornament, etc.
The evolution of Gothic.
Gothic style originated in the 12th century in northern France; in the 13th century it spread to the territory of modern Germany, Austria, the Czech Republic, Spain, and England. Gothic penetrated into Italy later, with great difficulty and strong transformation, which led to the emergence of “Italian Gothic”. At the end of the 14th century, Europe was swept by the so-called “international Gothic”. Gothic penetrated into the countries of Eastern Europe later and stayed there a little longer - until the 16th century. The term "neo-Gothic" is applied to buildings and works of art that contain characteristic Gothic elements, but were created during the eclectic period (a mixture of different styles from different cultures) in the mid-19th century and later. In the 1980s, the term "gothic" began to be used to refer to a subculture ("gothic subculture"), including a musical movement ("gothic music"). The word comes from the Italian gotico - unusual, barbaric. At first this word was used as a swear word. It should be noted that many believe that the name of the style comes from Goten - barbarians. But don’t be confused; this style has nothing to do with historical Goths. For the first time the concept in modern sense used by Giorgio Vasari to separate the Renaissance from the Middle Ages. Gothic completed the development of European medieval art, arising on the basis of the achievements of Romanesque culture. Gothic art was cultic in purpose and religious in theme. It addressed the highest divine powers, eternity, and the Christian worldview. Gothic in its development is divided into 3 periods:
1) Early Gothic;
2) Heyday;
3) Late Gothic.
Gothic style.
Mainly manifested in the architecture of temples, cathedrals, churches, and monasteries. It developed on the basis of Romanesque, or more precisely, Burgundian architecture. In contrast to the Romanesque style, with its round arches, massive walls and small windows, the Gothic style is characterized by pointed arches, narrow and tall towers and columns, a richly decorated facade with carved details (vimpergs, tympanums, archivolts) and multi-colored stained glass lancet windows . All elements of this style emphasize verticality. As with all Gothic architecture, three stages of development are distinguished in Gothic architecture:
1) Early;
2) Mature (High Gothic);
3) Late (flaming Gothic).
With the advent of the Renaissance north and west of the Alps at the beginning of the 16th century, the Gothic style lost its importance.
Almost all the architecture of Gothic cathedrals is due to one main invention of that time - the new frame structure, which makes these cathedrals easily recognizable.
System of flying buttresses and buttresses.
The frame system of Gothic architecture is a set of constructive construction techniques that appeared in the Gothic style, which made it possible to change the loads in the building and significantly lighten its walls and ceilings. Thanks to this invention, medieval architects were able to significantly increase the area and height of the structures being built. The main structural elements are buttresses, flying buttresses and ribs. The main and first striking feature of Gothic cathedrals is their openwork structure, which represents a sharp contrast to the massive structures of previous Romanesque architecture.
The main and first striking feature of Gothic cathedrals is their openwork structure, which represents a sharp contrast to the massive structures of previous Romanesque architecture.
Gothic vaults.
The most important element, the invention of which gave impetus to other achievements of Gothic engineering, was the ribbed cross vault. It also became the main structural unit in the construction of cathedrals. The main feature of a Gothic vault is clearly defined profiled diagonal ribs that make up the main working frame that carries the main loads.
Load distribution.
The technical breakthrough of the Gothic architects was their discovery of a new way to distribute the load. It must be said that any free-standing building experiences two types of loads: from its own weight (including floors) and weather (wind, rain, snow, etc.). Then it (the building) transmits them down the walls - to the foundation, then neutralizing them in the ground. This is why stone buildings are built more solidly than wooden ones, since stone, being heavier than wood, is at greater risk of collapse in case of an error in the calculations. In Romanesque architecture, partly a successor to ancient Roman architecture, the entire walls were the load-bearing parts of the building. If the architect wanted to increase the size of the vault, then its weight also increased, and the wall had to be thickened so that it could withstand the weight of such a vault. But in Gothic architecture this method was abandoned. Decisive for the development of Gothic was the insight that the weight and pressure of masonry could be concentrated at certain points, and if supported in these places, other elements of the building no longer needed to be load-bearing. This is how the Gothic frame arose - although the prerequisites for it appeared somewhat earlier: “Historically, this constructive technique arose from the improvement of the Romanesque cross vault. Already Romanesque architects in some cases laid seams between the formwork of the cross vaults, stones protruding outward. However, such seams then had a purely decorative meaning ; the vault still remained heavy and massive." The innovation of the technical solution was as follows: the vault was no longer supported by the solid walls of the building, the massive cylindrical vault was replaced with a lighter openwork one, the pressure of this vault was transmitted by ribs and arches to the pillars (columns). The lateral thrust that arises in this way is perceived by flying buttresses and buttresses. “The rib vault was much lighter than the Romanesque one: both the vertical pressure and the lateral thrust were reduced. The rib vault rested with its heels on pillars-supports, and not on the walls; its thrust was clearly identified and strictly localized, and it was clear to the builder where and how the thrust must be “extinguished.” In addition, the ribbed vault had a certain flexibility. The shrinkage of the soil, catastrophic for Romanesque vaults, was relatively safe for it. Finally, the rib vault also had the advantage that it made it possible to cover irregularly shaped spaces.” Thus, the structure is greatly facilitated due to the redistribution of loads. The previously load-bearing, thick wall turned into a simple “light” shell, whose thickness no longer affected bearing capacity building. From a thick-walled building, the cathedral turned into a thin-walled one, but “supported” along the entire perimeter by reliable and elegant “props”. In addition, Gothic abandoned the semi-circular, ordinary arch, replacing it with a pointed arch wherever possible. The use of a vaulted arch in vaults made it possible to reduce their lateral thrust, directing a significant part of the pressure directly to the support - and the higher and more pointed the arch, the less it creates lateral thrust on the walls and supports. The massive vault was replaced by a ribbed vault, these ribs - ribs - crossed diagonally and took the load. The space between them was filled with simple formwork - light laying of brick or stone.
Flying buttress- this is an external stone thrust arch that transfers the thrust of the arches of the main nave to supporting pillars spaced from the main body of the building - buttresses. The flying buttress ends with an inclined plane in the direction of the roof slope. In the early period of Gothic development, flying buttresses were found hidden under the roofs, but they interfered with the lighting of the cathedrals, so they were soon moved out and became open to view from the outside. Flying buttresses come in two spans, two-tiered, and a combination of both of these options.
Buttress- in Gothic, a vertical structure, a powerful pillar that contributes to the stability of the wall by the fact that its mass counteracts the thrust of the vaults. In medieval architecture, they figured out not to lean it against the wall of the building, but to take it outside, at a distance of several meters, connecting it to the building with spanned arches - flying buttresses.
This was enough to effectively transfer the load from the wall to the supporting columns. The outer surface of the buttress could be vertical, stepped or continuously inclined.
Pinnacle- a pointed turret, which was used to load the top of the buttress at the point where the flying buttress adjoined it. This was done to prevent shear forces.
pillar- could be of a simple cross-section or be a “bundle of columns.”
Rib- the edge of the arch of the vault, protruding from the masonry and profiled. The system of ribs forms a frame that supports the lightweight masonry of the vault. Ribs are divided into:
1)Jaw arches- four arches along the perimeter of a square cell at the base of the vault.
2)Ogiva- diagonal arch. Almost always semicircular.
3)Tierseron- an additional rib coming from the support and supporting the rail in the middle.
4)Lierni- an additional rib running from the intersection point of the ogive to the slit of the cheek arches.
5)Controllers- transverse ribs connecting the main ones (i.e. ogives, liernes and tiercerons).
6)Shuttering- in a rib vault, filling between the ribs.
7)Keystone(socket)
Decor.
The technical solution of structural problems was not the only task of the Gothic architect. The enrichment of textures and decoration of the design proceeded simultaneously with the evolution constructive solutions and almost inseparable from them. The buttresses were crowned with lanceolate pinnacle turrets, in turn decorated with crenellated projections. With the help of a sculptor, spillways were transformed into a fantastic combination of animal and plant forms. The ebbs of the portals extending deep into the ledges are supported by thin columns alternately with elongated figures of angels and saints, and the arched contour of the tympanum above the doors was covered with reliefs on the themes of the Last Judgment or similar subjects and painted in bright colors. Thus, all forms of art played their role in enlightening the flock, warning believers about the dangers of a sinful life and visually depicting the bliss of a holy life.
In the decision window openings the same merging of constructive evolution and ornamentation took place. Initially, the matter was limited to the grouping of two or three medium-sized windows in a single architectural frame. Then the partition between such windows was successively reduced, while the number of openings increased until the effect of a completely dissected wall surface was achieved. Further reduction in the size of the stone partitions between the smaller windows led to the emergence of a lacy window design, the ornamental pattern of which was created by thin stone ribs. At first assembled in the form of simple geometric shapes, the lacy window structures became more and more complex over time. In England, this “decorated” style dates back to the late 14th–15th centuries. was replaced by “perpendicular”, which in France corresponded to the style of “flaming Gothic”.
The multi-colored stained glass windows in these windows were assembled from small pieces of glass clamped with an H-shaped lead profile, which provided insulation from moisture. However, the lead frames were not strong enough to withstand the wind pressure on the large surface of the glass, which subsequently required the use of frames made of iron rods or reinforcement.
Over time, instead of iron reinforcement, figured stone ribs began to be used, which opened the way for freer lace compositions. IN stained glass 12th century the dominant colors were shades of blue, complemented by red, adding warmth to the whole. Yellow, green, white and purple colors used extremely sparingly. In the same century, the builders of Cistercian churches, abandoning the abundance of flowers, began to use grisaille (painting in different shades of the same color, usually gray) on a simple greenish-white glass surface for decorative purposes. In the 13th century the size of the pieces of painted glass increases, and red is used much more widely. In the 15th century The decline of stained glass art begins.
Gothic rose/rosette
Variants of rib vaults.
Schemes of various options for the rib vault.
In Gothic cathedrals one can find many variations of rib weaving, many of which have no name. Several main types:
1) Cross vault (quadripartite rib vault) - simplest option ribbed vault, having six arches and four fields of formwork.
Pointed cross vault.
2) Hexagonal vault (sexpartite rib vault)- a complicated version of the cross vault, thanks to the introduction of an additional rib, dividing the vault into 6 formworks.
3) Star vault (lierne vauit, Stellar vault)- the next level of complexity, thanks to the introduction of lines, the number of which can increase. The arrangement of the ribs takes on the shape of a star.
Star vault. Photo below.
Star vault is a form of cross-shaped Gothic vault. Has auxiliary ribs - Tierserons And liners. The main diagonal ribs of the cross vault are clearly visible in the frame.
4) Fan vault- created by ribs emanating from one corner, having the same curvature, making equal angles to each other and forming a funnel-shaped surface resembling a fan. Typical of England (“spread out Gothic”).
5) Net vault (netvault)- ribs create a network of ribs with cells approximately equal in size.
Castles, estates and residential buildings.
In the civil architecture of the Gothic era, it is necessary to distinguish the early castle, which served as both a dwelling and a citadel, from the later country residence, which was erected in an era of relative reduction in the need for individual defense of each from all. In both the first and second types one can detect features originally developed in church architecture.
A typical 13th century house in structure. had three floors and was placed towards the street either with a side wall or an end. The first floor was usually occupied by a shop and warehouse; the second housed living rooms, the main one facing the street; on the third or in the attic there were sleeping quarters. The bench facing the front and the kitchen behind were usually separated by a courtyard. Already in the 13th century. The decorative design of chimneys came into fashion, and carved decor was widely used.
The most popular materials in home construction were wood and plaster, but in some regions stone or brick were preferred. The wooden frame was usually assembled from powerful beams, the joints of which were carefully fitted and trimmed. The frame was left open from the outside and added a clear decorative pattern to the façade. The pattern was formed by vertical and horizontal rods, in some places connected by diagonal connections (in some regions - by intersecting diagonals). The filling between the frame elements was made of plaster over wooden shingles or brick, then covered with plaster. Window sashes generally followed church fashion, but, of course, in simplified forms.
In the 14th–15th centuries. neither in general layout, there are no significant changes in the structural design of the residential building, but the number of windows increases, and they themselves become larger. By 1500, the old “lace” casements were usually replaced by rectangular windows with straight imposts and rods
Civil architecture.
The Gothic architecture of France is not limited to churches, castles and residential buildings, also covering city halls, city bell towers, hospitals, schools of various levels and all other public buildings necessary for the life of a medieval person.
The city bell tower usually served as a symbol of the city's independence. Several bells were hung on it, among which was a signal bell, and in the 14th century. they began to install a clock on it. In Moulins, a tower of this kind has been preserved, on which the clock is called by mechanical figures.
Most medieval hospitals were built in the Gothic era. Their founders were both the church and feudal lords, but the management of the hospital was usually transferred to the hands of the church. The hospitals of that time had broader functions than modern ones, since, along with treating the sick, they provided shelter and food for pilgrims, the elderly, the homeless and the needy. Their layout, structural system and decor were borrowed equally from church architecture and from the architecture of a residential building. The first lazarettos, or leper colonies for leprosy patients, were also the first hospitals in the narrow sense of the word. In such infirmaries, lepers lived in separate houses, and those who looked after them lived in a separate building. Around 1270 there were up to 800 infirmaries in France, but by the 15th century. the need for them decreased so much that the funds allocated for their maintenance were directed to other purposes. The Maladredi du Tortoire Hospital gives an idea of the type of institution it is. On a rectangular plot there are three buildings: a two-story building for patients, a chapel and a two-story staff building, which housed a kitchen. On each of the two floors of the hospital building there was one long hall, illuminated by eight windows with lace weave. Fireplaces heated the hall and provided its ventilation, and movable wooden screens between the beds made it possible to separate patients from each other.
Monastic orders that specialized in helping the sick created a different type of hospital. The best-preserved medieval hospital in Beaune allows you to see the classical layout of a 15th-century hospital. On the sides of the courtyard surrounded by an arcade there are large halls (one for men, the other for women) and two side wings. Initially, at the end of each hall there was an altar, illuminated large window. The halls were covered with wooden vaults. Glazed tiles on the outside, paintings and tapestries on the inside brought intense color to the overall design. Wooden galleries surrounding the courtyard gave patients the opportunity to walk in the fresh air.
Milan Cathedral. height from the ground (with spire) - 108.50 m; height of the central facade -56.50 m; length of the main facade: 67, 90 m; width: 93 m; area: 11,700 sq. m; spiers: 135; 2245 statues on the facades.
Cathedral in Reims (Notre-Dame de Reims) in the French province of Champagne. Archbishop of Reims Aubry de Humbert founded the Cathedral in 1211 Mother of God. Architects Jean d'Orbais 1211, Jean-le-Loup 1231-1237, Gaucher de Reims 1247-1255, Bernard de Soissons 1255- 1285
Abbey of Saint Denis near Paris. France. 1137-1150
Gothic style. Chartres Cathedral - Cathédrale Notre-Dame de Chartres - Catholic cathedral in the city of Chartres (1194-1260)
Gothic Ulm Cathedral. Ulm in Germany at a height of 161.5 m (1377-1890)
Roman Catholic Gothic Cologne Cathedral of the Blessed Virgin Mary and St. Peter (Kölner Dom). 1248-1437; 1842-1880 It was built on the model of the French cathedral in Amiens.
Majestic, frightening and beautiful - this is how they often say about the masterpieces of Gothic architecture. Built back in the Middle Ages, Gothic cathedrals still amaze the imagination and fascinate visitors with their filigree stone work, grace and at the same time monumentality.
I suggest you take a walk through the most beautiful medieval Gothic cathedrals, especially since on February 28, 1066, the opening of Westminster Abbey took place in London - the famous church that is traditional place coronations and burials of English monarchs. 
The current appearance of the abbey was formed over many years, as construction proceeded intermittently from the mid-13th century until the mid-18th century. Moreover, Westminster Abbey was built “with an eye on France”, so in its architecture a specialist can easily recognize some features characteristic of the architecture of the countries of the continent. Meanwhile, the decor of the facade is still made in the best traditions of English Gothic: the absence of luxuriously decorated portals and the almost complete absence of sculpture. But only in England can one find such masterly stone carving, which creates the effect of a grid with rectangular cells thrown over the walls of a building. 
One of the most famous examples of Gothic art in France is Reims Cathedral. Built in the 13th century, it was the site of the coronation of almost all the country's monarchs until the 19th century. The cathedral is made in the mature Gothic style. Among him distinctive features– luxurious stained glass rose windows. 
Central and side facades Reims Cathedral is decorated with graceful buttresses, all kinds of arches, columns and pillars, as well as decorative turrets (pinnacles) with statues of angels. And of course, special attention deserve gargoyle drainpipes in the form of a ram, boar, dragon and vulture. 
In the very heart of Vienna is St. Stephen's Cathedral - one of the symbols of the city and one of oldest cathedrals Austria. It was built over several centuries, from the 13th to the 15th centuries. Its fate was not easy: just remember the terrible fire that engulfed the building in 1945, after which it had to be seriously restored. The famous mosaic tiles with coats of arms and symbols of Vienna appeared on the roof of the cathedral only towards the end of the 50s of the twentieth century. 
It is curious that the interior of the Gothic cathedral is made in the best Baroque traditions. The fact is that the decoration of St. Stephen's Cathedral also periodically underwent significant reconstructions, as did the facades. But if the external appearance of the cathedral did not change the Gothic style, then its interiors were different. architectural destiny. So the most striking changes in his interior decor happened in XVI-XVII centuries. It was then that he acquired his luxurious baroque “inside”. 
“Flaming Gothic” is the name of the style in which the legendary Milan Cathedral was built. The wealth of small elongated details, many of which resemble flames, greatly elongated tops of arches and fronts - that’s where the name comes from. The cathedral seems to rush into the sky with its carved “needles”. 
Milan Cathedral is the only Gothic cathedral in Europe white marble and the fourth largest among European cathedrals. It was founded at the end of the 14th century, and the facade, the design of which was approved by Napoleon himself, was completed in 1813. The author of the luxurious decor of the building was the legendary Italian architect Carl Amati, who erected a real “stone forest” of 135 marble peaks above the building. 
The Cathedral in the Spanish city of Seville was built on the site of a Muslim mosque in a record time for the Middle Ages - in just a hundred years. Its construction was completed by early XVI century. Since the cathedral building was erected on the foundation of an Arab mosque without any special changes, its plan does not resemble classical Gothic cathedrals. By the way, the Giralda, the cathedral’s bell tower with luxurious patterns, was previously a minaret. 
All famous cathedrals contain some kind of relic. For example, in the gloomy halls of the Seville Cathedral, paintings by Murillo, Velazquez and Goya are kept, and about three tons of gold were spent on decorating the main altar. The cross of the cathedral, according to legend, was allegedly cast from the first gold that Columbus brought from America. 
In the Spanish city of Burgos there is another famous medieval cathedral, built in the Spanish Gothic style. This style has a lot of features, in particular, it has the features of Moorish art. But the most striking differences between Spanish Gothic, say, and French, lie in the violation of the constructive logic of the building. At the beginning of construction, Spanish cathedrals seemed to be built according to classical canons, but they were often not completed to the end, and then they were rebuilt without a clear layout. Thanks to the addition of chapels and sacristies, Spanish Gothic cathedrals lost their vertical orientation.
1. Introduction of the topic. The teacher tells the students what they will do in the lesson and organizes a repetition of the material covered last time.
Remember what the word “Gothic” means? Why does this word have the same root as the word “Goths”?
In which country did this architectural style originate? What was it called at first? What style of architecture preceded it?
What are the main differences between a Gothic cathedral and a Romanesque one?
In order to remember the terminology, the teacher conducts a “brainstorming”: a column competition to see who can name the most terms on the topic “Gothic style in architecture.”
Look at the images and talk about the innovations in the decorative decoration and construction techniques of Gothic cathedrals compared to Romanesque ones.
How has the arch changed in comparison?
with the arch of a Romanesque cathedral?
Why was less needed?
How have the cathedral vaults changed?
Overlapping? Support system?
What did these innovations lead to?
nia? Imagine what it was like
lighting inside the cathedral? What was the opposite of the radiance?
coming from above from the stained glass windows? What was this light a symbol of?
What was the lighting like like in the cathedral below where the worshipers gathered? How many people could fit in such a cathedral in the Middle Ages? What was the influence of the church on the life of the urban community?
2. Fill out the table by listening to the teacher’s story (watching the film) about the three periods of development of Gothic architecture in England. Judging by the name of each period, what do you think will characterize it?
The teacher provides the following information:
Gothic architecture in England is divided into 3 periods:
1) Early Gothic period (1175-1250). This period is characterized by a Romanesque interior. This meant a clear division of the cathedral into 3 levels: arcade, triforium (cathedral vaults), clerestorium, the purpose of which was to illuminate the cathedral.
2) Middle (decorative) period (1250-1300). home characteristic this period - ornamental decoration of windows. (stone carvings supporting stained glass windows). Contacts with Islam and the Mongol Empire played a big role in window decoration. The supporting elements of the walls become lighter. More used metal constructions.
3) Perpendicular period (1300-1400). During this period, the exteriors of cathedrals acquired a special severity and rigidity. There are elements of Egyptian influence due to the fact that many English traders, artists, and pilgrims flocked to the east. The introduction of new techniques for constructing vaults led to their greater decorativeness.
Assignment: having divided into groups, students distribute the pictures given to them depicting three cathedrals and their fragments into 3 groups by period. During the task, the music of Henry Purcell or Johann Sebastian Bach (organ) plays softly. When all groups are ready, a discussion and exchange of opinions takes place (10-15 minutes). After this, they continue to fill out the table, writing down examples of Gothic architecture (names of cathedrals) for each period.
1. Vault of Gloucester Cathedral.
2. Lincoln Cathedral
3. Wells Cathedral 4. Gloucester Cathedral
5. Window of Lincoln Cathedral
6.Wells Cathedral
3. The teacher distributes materials depicting the eastern façade of Wells Cathedral (see Appendix No. 1). Students are asked to arrange in order in a vertical column the scenes and sculptures decorating the façade:
Figure of Christ
Saints and Prophets
Bishops and hermits
Kings and Queens
Apostles
Martyrs
Scenes from the Old and New Testaments
Madonna and Child Jesus
Scenes of the resurrection from the dead
Nine Hierarchical Orders of Angels
Images of angels flying above the clouds
Coronation Holy Mother of God
These names can be cut into strips so children can quickly sort them into levels. The task can again be completed in groups or pairs, and then compare the results and check with the right option teachers. Students then look at color pictures of this cathedral.
How do you think,
· What did the luxurious portals reflect?
· Whose image appears more and more often in the decoration of the portal?
· If Romanesque sculpture focused on embodying the idea of inevitability doomsday, what did the Gothic reflect?
4. The teacher shows students views of Cologne Cathedral (see appendix).
What does it have in common with the Gothic cathedrals of England?
How is it different? Fill out the table:
This is followed by a discussion of the results of the work.
4. The teacher invites students to look at the images
Canterbury Cathedral, where the tomb of St Thomas Becket, Archbishop of Canterbury, who was killed in 1170 in this cathedral, is located. In the Middle Ages, many hundreds of pilgrims flocked to his tomb to venerate the holy relics.
What period of English Gothic do you think this cathedral belongs to and why? Come up with titles for these images.
In image No. 3, the cathedral is photographed from the place where the road along which wanderers arrived leads to it. What are they
did you feel when, after a long journey, this cathedral finally opened before them? Imagine yourself in the place of such a wanderer: how would you feel?
5. Work with the text of R.D. Upstead’s textbook “People in History,” chapter “Geoffrey Chaucer and the Canterbury Tales.” Before reading, carefully examine the illustrations in the book. Who could these people be? What do you do in life? Where are they located? Who is the person standing in front of them? What do you think he might be saying to those present? What feelings are reflected on the faces of these people?
Children read the text and check their guesses:
“The Tabard Tavern in south London was packed. Visitors kept arriving all day. The stable boys were off their feet carrying water and hay for the horses. The maids barely had time to bring meat and ale from the kitchen. By evening, a group of about twenty people gathered in a large guest room.
The owner of the hotel, a large, red-faced man with a loud voice, stood beaming contentedly in front of the whole company. He was as happy as a schoolboy: of course - the next day he was going to go on a trip, leaving the tavern in the care of his obese wife Joan. It was quite a journey indeed, forty-five miles from home to Canterbury, where he would pray at the tomb of St. Becket and leave his gifts there.
Everyone in England tried to get to Canterbury at least once in their life, and he, the owner of the Tabard tavern, had already been there twice!
Of course, he won't go there alone; in those days this would have been very unwise, since the forests on both sides of the road were full of robbers! He set off as the leader of this entire company, gathered here in his hotel.
Clapping his hands as a sign of silence, he stepped forward.
“My dear friends, are you being well served? Do you have ale in mugs? So tomorrow we're leaving for Canterbury. Honestly, we go there to ask St. Becket to forgive us our sins. However, let's make our journey as fun as possible. This is a long and difficult road, but we have the power to turn it into an exciting journey. Listen carefully: each of you must tell two stories on the way to Canterbury and two on the way back.
The one who tells the most best story, upon returning here will be rewarded with a magnificent dinner.”
The next morning the wanderers set off on their journey. The company was quite diverse. Who wasn’t there! A brave knight who participated in the Crusades; his servant, a handsome, ruddy youth; honest farmer; cook; fat monk; graceful abbess; a poor schoolboy from Oxford; deceiver doctor; poor parish priest; a couple of scammers; miller; tax collector; sailor; nun; a cheerful weaver from Bath and a man with a small pointed beard.
This man's name was Geoffrey Chaucer, he had some influence at the royal court, and was also a poet and lover of funny stories. He decided to join the company of pilgrims going to Canterbury. Along the way he listened and memorized the stories, and when he returned, he wrote them down. He also gave funny and insightful descriptions of the wanderers themselves. He did not finish his “Stories”, but his book has been read by people in all corners for 500 years globe».
The teacher offers the children
1) choose the role of one of the wanderers and come up with a funny story from his life for the next lesson;
2) prepare a simple medieval costume (there is an illustration in the book);
3) create a menu for a medieval lunch (dinner)
If desired, you can 1) make a model of a Gothic cathedral;
2) make a stained glass window;
3) draw decorations for the portal or column capital.
In the next lesson, you can try to reconstruct the era by conducting a conversation between the pilgrims at dinner.
The word "Gothic" comes from the Italian word "gottiko" - literally "Gothic", from the name Germanic tribe ready. As an artistic style, it arose during the late Middle Ages (mid-10th - 15th centuries) and became the last stage of art of this time. Like the Romanesque style, Gothic was heavily influenced catholic church, hence the predominance of religious themes.
In art, this style was especially evident in architecture. Cathedrals, castles, and fortresses built in the Gothic style greatly contributed to the decoration of cities. Temples and palaces were tall vertical structures with columns, pointed arches, narrow elongated windows, and pointed roofs.
Feudalism continued to develop and strengthen, accompanied by frequent wars, the development and growth of cities, trade, and crafts.
The Gothic style also influenced the appearance of people. Laws were issued on ranks in clothing and hairstyles. Costumes have become more elegant, emphasizing the plasticity of the human body.
The art of tailoring is improved, and the skill of cutting fabrics emerges. The shapes of costumes are becoming more colorful and varied. The lines of architecture are also echoed: elongated proportions also determine fashionable silhouettes in clothing of the 13th and 14th centuries.
Costumes and hats acquire an elongated silhouette, women's clothing- a silhouette reminiscent of the Latin letter "S".
The proportions of a man's suit, combined with pointed shoes and a high headdress, are slightly conical different shapes as if they were stretching out the figure - it seemed not only taller, but also emphatically flexible.
At the end of the 14th century, the excessive luxury and wealth of the Burgundian court began to significantly surpass the splendor and splendor of other royal courts in Europe - Burgundian (Franco-Burgundian) fashion appeared (1425-1490). Fashion, however, changed very often. But the common features for all its types were: pretentiousness, richness of fabrics and decoration, sophistication of lines and silhouette.
The number is increasing outerwear, worn one on top of the other at the same time (among noble townspeople and courtiers). The suit now becomes more squat, heavy, and spacious.
Spanish fashion becomes the main one. The collars are standing and high. They are trimmed with a narrow ruffle. Later, a round, milled cutter type collar appeared.
Men continued to wear "Paisan" hairstyles, young nobles let go long hair, curled into curls.
Sometimes they wore a round gold hoop, around which they wrapped long strands of hair at the back of their heads, forming a kind of roller.
Peasants and townspeople had their hair cut “in a brace”, “in a circle”. A beard and mustache complemented the hairstyle. Beards had a wide variety of shapes. rounded, hook-shaped, forked, intertwined with threads, corkscrew-shaped.
Women's hairstyles were still hidden by a variety of hats huge sizes and bizarre shape.
Girls could also wear their hair down, decorated with ribbons and wreaths.
Ladies tied their hair under thin linen scarves, leaving a thin braid on the forehead, laid in the shape of a semicircle - a loop, by which one could determine the color of the hair. The "knight's braids" hairstyle has almost disappeared; with the change in the shape of headdresses, another appears - also from braids, but already twisted over the ears in the form of "snails", which were covered with a decoration that was fashionable at that time in the form of a convex hemisphere or shield. It was called a template.
The templates were attached to a hoop that covered the head. Often, “snails” made from strands of hair were covered with thin gold nets - thus, each “snail” had its own gilded “house”.
The hair in the nets had an elongated or rounded shape, depending on the styling. Elderly ladies completely hid their hair under massive headdresses. At the same time, the neck was completely open.
During the late Middle Ages, the monotony of hairstyles was compensated for by headdresses. Men wore hats, hoods, men's caps - fabric beguins white. They served as a kind of lower headdress; a hat was put on top. They wore felt and cloth hats of various shapes, but the beguin became popular. The caps had the shape of a truncated cone, with or without brims. Men's hats in the period of the 14th - 15th centuries were sharply differentiated by class. The shapes of hats and caps were determined by special royal decrees. In France this was especially noticeable. Thus, the clergy were required to wear miters, tiaras, and barets; judicial officials and notaries - beaver hats; scientists and theologians black caps; doctors - hats and caps with earmuffs and brims.
During the reign of Burgundian fashion, chaperone bourele headdresses with a long kyo (tail) appeared. They were worn by noble men, as well as almost all courtiers.
Women's headdresses, which still completely replaced hairstyles, underwent some changes compared to the Romanesque period.
The most popular headdress was a scarf called a barbet. Over it, especially in winter, women usually wore weighted hats and blankets. They wore omuse scarves, which resembled a hood, with long ends tied around the neck.
In the 13th - 14th centuries, townswomen and noble ladies began to wear a gorge, which was shaped like a cylinder or a pipe, quite high, the edges of the headdress widened at the bottom, and a small incision was made at the back of the head.
Toure type hats made of felt and felt were fashionable. In the 15th century, high caps became widespread, called “sugarloaf” and “sails”. The decorations increased in height, repeating the silhouettes of Gothic roofs.
In 1395, Elizabeth of Bavaria introduced the Ennen headdress into fashion. The Ennens were believed to be of African origin. Ennen had the shape of a truncated cone on a cardboard and wire base. Fabric was stretched over the frame. This unique headdress was complemented by a long transparent veil.
The Church has repeatedly expressed its protests about the appearance and rapid spread of these headdresses - peculiar caricatures of Gothic cathedrals.
Burgundian fashion also creates a “horned” cap with side gilded nets on the ears and high caps of various shapes, which depended on the frame and the location of thin transparent veils. They also wore crowns and various nets.
In medieval cities, it was possible to determine the class affiliation of people by clothing, hats, and hairstyles. Severe laws prescribed strict distinctions in wearing jewelry. Thus, the headdresses of the nobility were decorated with peacock feathers, silver buckles, enamels, pendants, and oriental embroidery.
Since the hairstyle was completely hidden, gold cords, wreaths, and hoops of elegant work were worn over scarves.
In the portraits of Jan van Eyck, Lucas Cranach the Elder. In the stained glass windows of cathedrals you can see women’s faces with unnaturally high foreheads, plucked eyebrows and eyelashes. Ladies used powder, lipsticks, rose toilet water, oils brought from eastern countries, perfume.
Hairdressing art in the Renaissance (XIV-XVI centuries)
During the Renaissance, everyone sought to enjoy life on earth, not in heaven. "ABOUT! How beautiful youth is, but instantaneous! Sing, laugh, be happy, whoever wants happiness, and don’t hope for tomorrow,” wrote Lorenzo Medici, the ruler of Florence, in his poems. A completely different era that changed everything: life, philosophy and psychology of people, art, architectural style...
Southern women continued to strive to become blondes. They sat for hours under the scorching sun in the loggias, wearing hats with huge brims that protected them from sunburn (white skin was in fashion); Strands of hair were laid out on the brim of a solari hat. in hair prerequisite there was an open, high forehead; for greater expressiveness, they tried to increase the height of the forehead by shaving off part of the hair above it. Sometimes eyebrows were also shaved off.
Hairdressing art has received a new development. There is a return to the heritage of antiquity, hairstyles again become complex, with the use of expensive jewelry, feathers and tiaras. We can judge this from Botticelli’s paintings, for a fashionable beauty was Simonetta Vespucci, who more than once inspired Sandro Botticelli (her features can be seen in Botticelli’s famous “Venus”).
One of the main signs female beauty hair was considered, the care of which women devoted a lot of time. In Venice, on the roof of every house there was a small gazebo, open at the top, where a woman, protected from indiscreet glances, could sit with her hair loose, wetted special paint, wearing a hat with a brim and without a bottom, and wait for your hair to acquire the famous golden hue under the sultry sun. The male style is shoulder-length hair, styled with a roller that frames the face and neck, the beard and mustache are shaved.
Girls could walk with their hair loose over their shoulders, and women, gracefully twisting their hair with strings of pearls, covered it with nets, caps and light scarves (in the manner of oriental turbans), removing hair from the back of the head and forehead, since a long neck and high forehead were considered signs of beauty. To do this, hair was shaved from the forehead, and sometimes eyebrows; the cutout of the dress on the back exposed the neck, making it longer. Elderly women always covered their heads with a scarf, cap or cape. On the belt hung a fan made of ostrich feathers and a dagger (which was part of the obligatory toilet for a lady leaving the house). On her feet are soft leather shoes. In bad weather, a fur-lined cloak was worn on top. At other times it is easy.
Content
Introduction
GOTHIC STYLE - (French gothique, German gotisch, Italian gotico from Latin gothi, Middle Latin gotthus, Greek gothos from Old High German gaut - source, part of the word included in the name of the river Gautelfr, hence the ethnonym) is a historical artistic style that dominated Western European art in the 13th-15th centuries. The ancient Romans called Goths the barbarian tribes that invaded the empire from the north in the 3rd-5th centuries. The term appeared during the Italian Renaissance as a derisive nickname for a “barbaric”, primitive, recessive medieval culture. At first (around 1476) it was applied to literature - to denote incorrect, distorted Latin. There is an assumption that the word "Gothic" was first used by Raphael, the famous artist of the Renaissance, in a report to Pope Leo X (1513-1521) on the progress of the construction of St. Peter's Cathedral (circa 1520) as a synonym for "barbarian architecture", contrasting her "Roman".
Gothic is the crown of the Middle Ages, it is bright colors, gilding, the shine of stained glass, expression, prickly needles of spiers flying into the sky, a symphony of light, stone and glass...
At the beginning of the 19th century. French historian C. V. Langlois proposed the term “gothique flamboyant” (French “flaming Gothic”).
Early style in Gothic architecture.
The history of Gothic architecture is the history of the rib and the flying buttress.” Relieving the walls of the load made it possible to cut them with huge windows - this stimulated the art of stained glass. The interior of the temple became tall and bright. So technical necessity led to the creation of a new design, and that, in turn, led to an original artistic image. The birth of the Gothic style is an example of the artistic transformation of utility and design into composition. It illustrates the main pattern of the process of formation in art. The forms of architecture began to express not strength and stability, but the Christian idea of \u200b\u200bstriving upward, towards the sky - a content opposite to the functional meaning building structure. This mysterious metamorphosis can be felt upon entering the temple. We will see rows of thin beams of columns, the tops of which are lost in the haze of vaults floating overhead, or better yet, under the skies, their thin ribs spreading out like mysterious flowers.
The walls seem to disappear in the streams of light pouring from the huge windows with colored glass. In fact, the vaults are incredibly heavy and press with enormous weight, resting on buttresses placed outside the interior and therefore invisible to the viewer inside. Gothic builders - architects, apparatus workers and “freemasons” of traveling artels competed to see who could raise the cathedral vaults higher - a symbol of freedom and independence of the medieval city. The ribbed vaults were made up of small wedge-shaped stones and over time were so improved that they became elastic and light, radically changing the idea of the weight of a stone structure. One of the main features of the Gothic style was the dematerialization of form. Physical properties the material no longer determined the nature of the visual image. The “visual weight” of the stone did not correspond to the physical weight. Heavy and hard, it turned into the lightest lace of thread:
I hate the light
Monotonous stars.
Hello my old delirium, -
Lancet towers rise!
Be a lace stone
And become a web:
Heaven's empty chest
Use a thin needle to...
O. Mandelstam (1912)
In O. Mandelstam's collection “Stone” (1913) there is a poem “Notre Dame”. It is difficult to say more precisely about the mystical transformation of an architectural structure:
Where the Roman judge judged a foreign people -
The basilica stands, both joyful and first,
Like Adam once, spreading his nerves,
The light cross vault plays with its muscles.
But a secret plan reveals itself from the outside!
Here the strength of the girth arches was taken care of,
So that the heavy weight of the wall does not crush,
And the ramming ram remains inactive on the daring arch...
The architecture of the Gothic cathedral is a symbol of infinity. His artistic image, contrary to everyday ideas, expresses not mathematical calculation and rational design, but the irrational, mystical craving of the soul for the unknown, mysterious... And this daring dream is really, tangibly embodied in a material, tangible form! Stone by stone, higher and higher - the metaphysics of spiritual impulse, audacity and, at the same time, Christian humility, the union of dreams and reality. In the story of the English writer W. Golding “The Spire” (1964), it is remarkably shown how Abbot Jos-Lin, contrary to all logic and calculation, by the power of faith, manages to raise a spire four hundred feet high over the cathedral. The artistic secret of Gothic architecture is that its architectonics (“visual design”) does not coincide with the actual one. If the latter acts on compression, then the visual image expresses the idea of Ascension, the aspiration of the soul to heaven, merging with God. It was this discrepancy that gradually intensified in the development of the Gothic style. The ribs became a decorative play on the patterns of the vault, ostensibly structural elements were laid out of stone that did not carry any physical load, cruciferous flowers bloomed at the intersection points of the ribs like fantastic stone flowers, turrets—vials—appeared in the most unexpected places.
During the transition from Romanesque to Gothic style, the composition of cathedrals changed. Main entrance moves from the cloister on the south side to the west façade, which becomes the most important. The apse (altar part) is finally fixed at the eastern end of the nave (two more may be located at the northern and southern ends of the transept - the transverse nave). The western towers merge with the facade; the center of the resulting symmetrical composition is fixed by a large round window - a “rose”. Vertically, the western facade is divided into three parts, three perspective portals below reveal a three-part division of the interior - a central nave and two side ones. Each portal is assigned its own name and symbolic meaning. Above the portals runs the entire width of the façade “gallery of kings” - a row of statues in niches depicting Old Testament characters - Jewish kings and prophets.
Mature style in Gothic architecture.
The mature French Gothic style of the 13th century, during the reign of Louis IX, is sometimes called the "Louis IX style", or "High Gothic of the Ile-de-France".
This style is well demonstrated by the interiors of the Royal Chapel of Sainte-Chapelle. In addition to multicolor stained glass windows, the vaults of the “lower church” are painted with golden Bourbon lilies on a blue background. Red and blue columns carry gilded foliate capitals. The ribs are also gilded, and the rosettes - trifolium - are decorated with multi-colored glass cabochons imitating precious stones. Even in architectural details, tectonics is overcome. Just as in antiquity the Corinthian capital destroyed the last traces of the tectonic order, so the Gothic capital, decorated with naturalistically interpreted leaves, began to express not the function of support, but the plasticity of a “living” growing form (Fig. 476). The ribbed “overturned arches” of the cathedral in Wells in the southwest of England (1285-1340) create an incredible, phantasmagoric image. Triangular vampires above the portals mask the horizontal divisions of the façade. Over the course of one century, the towers of the western facade change. In Notre Dame Cathedral they do not have finials. Contrary to the opinion of E. Viollet-le-Duc, the first researcher and restorer of the temple, the towers are completely completed. They should have, according to most experts, remained rectangular. In later buildings, the towers are decorated with high openwork tents; the function of the bell tower in them is not so important - the towers serve to express the movement upward, towards the sky.
A fusion of Gothic architecture and sculpture.
One of important features Gothic is a fusion of architecture and sculpture, creating a multiplicity of mysterious plastic images. The Gothic cathedral is filled with plastic outside and inside.
Forests of Gothic sculpture!
How creepy and close everything is in it.
Columns, strict figures
Sibylles, prophets, kings...
World of fantastic plants,
Petrified ghosts
Dragons, magicians and chimeras.
Everything here is a symbol, a sign, an example.
What a tale of evil and torment are you
Can you see on the walls here?
Like in these complex letters
Do you understand the meaning of each letter?
Their gaze, like the gaze of a snake, is viscous...
The door is closed. Lost key.
M. Voloshin (“Letter”, 1904)
In large cathedrals there are up to two thousand sculptural images! Statues, reliefs, and openwork ornaments outside and inside the cathedral were brightly painted, and the eyes of the statues were inlaid with lead. Traces of painting have been preserved in rare cases. One can imagine what a magical impression the painted statues made in the darkness of the cathedral. They were treated as if they were alive: the figures of saints were worshiped, and the images of hellish forces and fantastic monsters inspired horror. This gave rise to legends about statues coming to life, described later in the Romantic era in popular “Gothic novels.” In the Gothic era, a new history of statuary sculpture begins. Thus, according to the observation of E. Panofsky, the “large heads” in the interior of the western wall of the nave of the cathedral in Reims (mid-13th century) represent “a monumentalization of relief images of ancient gems and coins.” They are not yet a sculpture in the full sense - a complete form in itself, independent of the plane of the wall. But it was in the Reims school of the 13th century. a significant step was made towards the autonomy of the sculptural volume, as well as the independence of the plasticity of the folds of clothing from the body. It is this fact that explains the striking similarity of many Gothic statues with ancient ones.
High Gothic.
High Gothic is essentially a proto-Renaissance, and stylistically it is the beginning of Classicism. Many heads and figures made by masters of the Reims school directly repeat the ancient ones: “a man with the head of Odysseus”, “a smiling Angel”, statues of Mary and Elizabeth (on the right side of the central portal of the Cathedral in Reims). In late Gothic this tendency intensifies. Separated from the wall, pylon or bundle of supports, the statue is placed freely in front of the wall and then in a niche; Having gained independence, sculpture enters into a new interaction with architecture. E. Cohn-Wiener wrote that “in the Angels of High Gothic, the feminine thinness of the head reaches the point of grace, to sophistication, a graceful smile plays on thinly defined lips, the hair is grabbed by a bandage, and beautiful curls form a hairstyle, the closest resemblance of which we can find among the women of Attica the time of Phidias." In Gothic statues of the XIV-XV centuries. a special bend appears, a soft, plastic line, called the “Gothic curve”. It is associated with the ancient Greek chiasmus, but is distinguished by its atectonicity and destructiveness. The “Gothic curve,” like the immaterial painting of stained glass windows, is nothing more than a denial of the ancient principle of physicality. The form of a Gothic statue dissolves in the plasticity of draperies, folds, kinks, as if lifted by a metaphysical whirlwind. These folds, like the movement of the figure itself, are not structurally motivated, which is why they sometimes seem strangely playful, mannered, inappropriate to the seriousness of the situation. This oddity is explained not by amateurism - the sculptor’s ignorance of the rules of plastic anatomy, but by a special perception of the world. E. Cohn-Wiener interestingly notes that the Gothic era was distinguished by unprecedented “freedom of the body”, “freedom of movement in all directions.” This is evidenced by, somewhat strange in our opinion, images of women with implausibly curved backs and protruding bellies, clearly made as an example of beauty. “The style of life itself, in all likelihood, became more agitated, the blood began to circulate faster in the veins of the people than in the Roman era. They tell us this Crusades, songs of troubadours and the philosophy of that time... Gothic makes women weep over the tomb of the Savior, Angels rejoice - in a word, it brings affect, excitement... All the wealth of biblical and legendary themes begins to serve as a program for decorating churches and books, the entire church worldview with its abstract ideas find their expression in stone and paint.”
Gothic colors and details.
The masts of ships with multi-colored pennants were completely covered with gold sheets. Excitement reigned in life, people shed tears over trivial matters, and most of all they loved to watch executions. Impressionability, violent experiences, and a passionate desire to encounter a miracle led to the creation of artistic forms that corresponded to the Gothic style. Color played a special role in this. Contrary to popular ideas about the “dark Middle Ages,” Gothic is bright and colorful. Polychrome painting of walls and sculptures, colored glass stained glass in interiors cathedrals were complemented by colorful trellises hung in the arcades of the naves, fresh flowers, the glitter of gold of church utensils, the glow of candles and the bright clothes of the townspeople filling the cathedral. Ordinary everyday costumes combined white, orange, green, red and yellow colors (they were also repeated in the painting of wooden statues in altar compositions). The color blue was considered a symbol of fidelity; yellow - especially beautiful, and green meant love - green was more often worn by women. It is often said that “the color of Gothic is purple.” This is the color of prayer and the mystical aspirations of the soul - a combination of the red color of blood and the blue of the sky. In medieval stained glass, red, blue and violet colors really predominate. In subsequent eras, when rational thinking began to dominate, violet harmonies were used little. However, in addition to this, color had a special formative significance in medieval art, since painting and sculpture had not yet separated from architecture. Somewhat later, during the Renaissance, with the advent of easel painting, painting took over the function of color, and then buildings and statues became more monochrome. (Something similar happened in ancient art, and, in reverse order- the reunification of color, design and plasticity - was observed during the Art Nouveau period, at the turn of the 19th-20th centuries). The main principle of formation that united the Gothic era different kinds art, there was a “principle of miniaturization”, likening forms - repeating the same elements (sometimes one in another) on different scales. This phenomenon is called the “romance of scale” in Gothic art. The countless towers and turrets of the Milan Cathedral, as if reflecting one another, cease to be reality, turn into imaginary, into images of each other. In such a composition, the usual landmarks and scale disappear, and a person is not able to navigate distances and sizes - a fantastic, surreal space arises. The composition of the Gothic temple is almost exactly repeated in reliquaries, which are called architectonic. Previously, in Romanesque art, these were just caskets, boxes, boxes, now - a cathedral in miniature. Carved wooden furniture is also likened to a temple model.
Gothic cathedrals.
Cathedrals were built over centuries; enormous amounts of money, time, effort and the lives of thousands of people were spent on their construction, just like the ancient Egyptian pyramids. Notre Dame de Paris Cathedral was founded in 1163, was built over two hundred years and was completed until the end of the 14th century. The largest of all the cathedrals is located in Reims, its length is 150 m, the height of the towers is 80 m. The cathedral was built from 1211 to the beginning of the 14th century.
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