Talk:French Gothic architecture

For this article, there should be a description of the four periods of French Gothic architecture: Early Gothic, High Gothic, Rayonnant, and Flamboyant (also Late Gothic). It should explain the differences between the styles as well as note what concepts were unchanged.

= Since stubs for Rayonnant and Flamboyant already exist, I will expand those into proper articles rather than trying to squeeze everything in here. Quite apart from the size issue, I feel it would be wrong to include those two 'styles' under a specifically French regional heading because although they originated there, they both became important architectural styles outside France too (particularly in the Holy Roman Empire). StuartLondon (talk) 14:52, 19 June 2009 (UTC)

I agree. Rayonnant and Flamboyant can hold articles on their own. MathKnight Gothic Israeli Jew 15:29, 20 June 2009 (UTC)

Deletion from generic article

I suggest that the material pasted below be incorporated into this article, as it appears to contain some information not in the article already.

It properly belongs here and is much too singly focussed upon the architectutre of France to occupy the major space in the article Gothic architecture from which it has been removed.

Amandajm (talk) 15:59, 10 March 2020 (UTC)

History

Origins – Early Gothic (1130–1200)

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  The rebuilt ambulatory at the Abbey of Saint-Denis (1140–1144)
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  Exterior of Saint-Denis Basilica, with its three portals and remaining tower (1140–45)
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  The west front at Noyon Cathedral, begun 1145, showing influence of Saint-Denis
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  The apse of Noyon Cathedral (1155)
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  Laon Cathedral, begun 1155
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  Facade of Notre-Dame de Paris, facade begun about 1200

The Gothic style originated in the Ile-de-France region of northern France in the first half of the 12th century. A new dynasty of French Kings, the Capetians, had subdued the feudal lords, and had become the most powerful rulers in France, with their capital in Paris. They allied themselves with the bishops of the major cities of northern France, and reduced the power of the feudal abbots and monasteries. Their rise coincided with an enormous growth of the population and prosperity of the cities of northern France. The Capetian Kings and their bishops wished to build new cathedrals as monuments of their power, wealth, and religious faith.

The church which served as the primary model for the style was the Abbey of St-Denis, which underwent reconstruction by the Abbot Suger, first in the choir and then the facade (1140–44), Suger was a close ally and biographer of the French King, Louis VII, who was a fervent Catholic and builder, and the founder of the University of Paris. Suger remodeled the ambulatory of the Abbey, removed the enclosures that separated the chapels, and replaced the existing structure with imposing pillars and rib vaults. This created higher and wider bays, into which he installed larger windows which filled the end of the church with light. Soon afterward he rebuilt the facade, adding three deep portals, each with a tympanum (an arch filled with sculpture illustrating biblical stories). The new facade was flanked by two towers. He also installed a small circular rose window over the central portal. This design became the prototype for a series of new French cathedrals.

Sens Cathedral (begun between 1135 and 1140) was the first cathedral to be built in the new style (St. Denis was an abbey, not a cathedral). Other versions of the new style soon appeared in Noyon Cathedral (begun 1150), Laon Cathedral (begun 1165), and the most famous of all, Notre-Dame de Paris, where construction had begun in 1160.

The Gothic style was also adapted by some French monastic orders, notably the Cistercian order under Saint Bernard of Clairvaux. It was used in an austere form without ornament at the new Cistercian Abbey of Fontenay (1139–1147) and the church of Clairvaux Abbey, whose site is now occupied by a French prison.

The new style was also copied outside the Kingdom of France in the Duchy of Normandy. Early examples of Norman Gothic included Coutances Cathedral (1210–1274), Bayeux Cathedral (rebuilt from Romanesque style in 12th century), Le Mans Cathedral (rebuilt from Romanesque 12th century) and Rouen Cathedral. Through the rule of the Angevin dynasty, the new style was introduced to England and spread from there to Low Countries, Germany, Spain, northern Italy and Sicily. The Gothic style did not immediately replace the Romanesque everywhere in Europe. The Late Romanesque continued to flourish in the Holy Roman Empire under the Hohenstaufens and Rhineland.

High Gothic (1200–1270)

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  Overview of Chartres Cathedral (1194–1220)
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  Choir of Chartres Cathedral with the new, stronger four-part rib vault
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  Bourges Cathedral with flying buttresses (1195–1230)
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  Reims Cathedral from the northwest (1211–1345)
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  Facade of Amiens Cathedral (1220–1266)
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  Amiens Cathedral choir and altar

From the end of the 12th century until the middle of the 13th century, the Gothic style spread from the Île-de-France to appear in other cities of northern France. New structures in the style included Chartres Cathedral (begun 1200), Bourges Cathedral (1195 to 1230), Reims Cathedral (1211–1275), and Amiens Cathedral (begun 1250). At Chartres, the use of the flying buttresses allowed the elimination of the tribune level, which allowed much higher arcades and nave, and larger windows. The early type of rib vault with six parts, used of Saint Denis and Notre-Dame, was modified to four parts, making it simpler and stronger. Amiens and Chartres were among the first to use the flying buttress; the buttresses were strengthened by an additional arch and with a supporting arcade, allowing even higher and walls and more windows. At Reims, the buttresses were given greater weight and strength by the addition of heavy stone pinnacles on top. These were often decorated with statues of angels, and became an important decorative element of the High Gothic style.

Another practical and decorative element, the gargoyle, appeared; it was an ornamental rain spout which channeled the water from the roof away from the building. At Amiens, the windows of the nave were made larger, and an additional row of clear glass windows (the claire-voie) flooded the interior with light. The new structural technologies allowed the enlargement of the transepts and of the choirs at the east end of the cathedrals, creating the space for a ring of well-lit chapels. The transept of Notre-Dame was rebuilt with the new technology, and two spectacular rose windows added.

Rayonnant Gothic (1250–1370s)

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  Windows of upper chapel of Sainte-Chapelle (1238–48)
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  Columns of exterior framework supporting the windows of Sainte-Chapelle
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  Rose window in north transept of Notre-Dame Cathedral
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  Exterior of south rose window of Notre-Dame Cathedral (about 1250)

The next period was termed Rayonnant ("Radiant"), describing the tendency toward the use of more and more stained glass and less masonry in the design of the structure, until the walls seemed entirely made of glass. The most celebrated example was the chapel of Sainte-Chapelle, the chapel attached to the royal residence on the Palais de la Cité. Both flying buttresses and side chambers were eliminated, leaving only simple buttresses, too close to the walls to support the side thrust of the vault, which must be born by innovative metal elements under tension. The weight of each of the masonry gables above the archivolt of the windows also helped the walls to resist the thrust and to distribute the weight.

Another landmark of the Rayonnant Gothic are the two rose windows on the north and south of the transept of Notre-Dame Cathedral. Whereas earlier rose windows, like those of Amiens Cathedral, were framed by stone and occupied only a portion of the wall, these two windows, with a delicate lace-like framework, occupied the entire space between the pillars.

Flamboyant Gothic (1350–1550)

• The west front of Sainte-Chapelle de Vincennes (1480)
  The west front of Sainte-Chapelle de Vincennes (1480)
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  The nave of Sainte-Chapelle de Vincennes (1480–1551)
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  The rose window Sainte-Chapelle de Vincennes. The sinuous lines of the window frame gave the style the name "Flamboyant" (1480)
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  Vault ceiling in the Sainte-Chapelle de Vincennes
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  West facade, Rouen Cathedral (1509–1530)
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  Royal Monastery of Brou, Bourg-en-Bresse (1506–1532)
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  Facade of St. Anne's Church in Vilnius, Lithuania (1490s)

The Flamboyant Gothic style appeared in the second half of the 14th century. Its characteristic features were more exuberant decoration, as the nobles and wealthy citizens of mostly northern French cities competed to build more and more elaborate churches and cathedrals. It took its name from the sinuous, flame-like designs which ornamented windows. Other new features included the arc en accolade, a window decorated with an arch, stone pinnacles and floral sculpture. It also featured an increase in the number of nervures, or ribs, that supported and decorated each vault of the ceiling, both for greater support and decorative effect.

Notable examples of Flamboyant Gothic include the western facade of Rouen Cathedral and Sainte-Chapelle de Vincennes in Paris, both built in the 1370s; and the choir of Mont Saint Michel Abbey (1448 c.). Subsequently, the style spread to Northern Europe. A notable example of Flamboyant Gothic in the Baltic region includes the Brick Gothic Church of St. Anne in Vilnius (1490s).

Making the lead more readable

I'm afraid that the recent additions to the lead , describing the four periods of the style, are too technical for the lead, and seem written for architecture graduate students. not the broader Wikipedia audience. I respectfully suggest that this part of the lead should be shortened and made clearer, without the technical terms, so it can be understood by non-specialists. The technical terms can be explained in the sections on the different periods.

Also, it's not entirely clear how High Gothic fits into this. It's the most commonly-used term ins the sources that I've seen. Shouldn't it be explained? Cordially, SiefkinDR (talk) 15:02, 1 May 2023 (UTC)