Detail of the west façade of the Trinity Abbey, Vendôme, highlighting the flickering flame-like motifs often associated with the Flamboyant style (completed 1507)

Flamboyant (from French flamboyant, "flaming") is a highly ornate style that was the last phase of French Gothic architecture. The term was first used by the French historian Eustache-Hyacinthe Langlois (1777–1837), and then the English historian Edward Augustus Freeman in 1851.[1] It is characterized by double-curved, flame-like lines in the windows and tracery, which gave the style its name.[2] It also often features very tall and narrow pointed gables and arches, such as the double-curved ogee arch.[2] The Flamboyant style appeared around 1380, succeeding the Rayonnant style, and continued until it was gradually replaced as the dominant style by Renaissance architecture during the first third of the 16th century.[3] Notable examples of ecclesiastical monuments in France include the Saint-Chapelle de Vincennes; the parish church of Saint-Maclou, Rouen; and the west front of the Trinity Abbey, Vendôme. Significant examples of civil architecture include the Palace of Jacques Cœur in Bourges and the Hôtel de Cluny in Paris.

In most regions of Europe, Late Gothic styles displaced or transformed earlier traditions.[4] In addition to the Flamboyant style, similar and related developments occurred in England during the same general period, which are typically referred to as the Decorated style and Perpendicular Gothic.[3] Flamboyant forms spread to the Iberian Peninsula, where the Isabelline style became the dominant mode of construction in the Crown of Castile during the late 15th and early 16th centuries. The emergence and growth of the Manueline style occurred during the same period in Portugal. In Germany, the Sondergotik ("Special Gothic") style was contemporary with the Flamboyant in France and the Isabelline in the Crown of Castile. Through theoretical texts, architectural drawings, travel, and expertises, there are many known instances in the late 15th and 16th centuries in which architects and masons exchanged architectural knowledge across cultures (e.g. between the Kingdom of France, Catalonia, the Duchy of Milan, and Central Europe among others).[5][6] These factors help explain the appearance of Flamboyant forms in other parts of Europe.[7][8]

Flamboyant style in France

The term "Flamboyant" was not used to describe architecture during the Middle Ages, but was coined later in the early nineteenth century "primarily to refer to French monuments"[9] with flame-like curvilinear tracery constructed between circa 1380 and 1515. The Flamboyant style appeared in France at a particularly difficult time, during the Hundred Years War against England (1337-1444), but nonetheless construction of new cathedrals, churches, and civil structures—as well as additions to existing monuments—went ahead in France, and continued throughout the early 16th century. In addition to richly articulated façades, very high, lavishly decorated porches, towers, and spires were particular features of the Flamboyant style. Although wealthy patrons were initially reluctant to shift away from the elegance and visual logic of the older Rayonnant style and its association with king Louis IX, formative examples of the Flamboyant style in France appeared first in royal palaces.[10] These initial experiments consisted of deploying curvilinear tracery for Jean, Duc de Berry, in his castle chapel (1382) at Riom and the fireplace in the great chamber (1390s) of the ducal palace at Poitiers, and in the La Grange chapels (c. 1375)[11] at Amiens Cathedral.[10]

Royal and elite palaces were also some of the earliest monuments constructed completely in the Flamboyant style. Located in Bourges, the Palace of Jacques Cœur, the treasurer of the King, constitutes a key example. Constructed between 1444 and 1451, it features a combination of residential and official wings richly decorated with gables, turrets, and chimneys arranged around a central courtyard.[12] The Château de Châteadun, which was transformed between 1459 and 1468 by Jehan de Dunois, the half-brother of king Charles VI, is another striking example and among the earliest residences built essentially for leisure in France.[13] In addition to featuring one of the seven remaining Sainte-Chapelle chapels, the château also includes an elegant spiral staircase. The corresponding façade is decorated with characteristic flame-like tracery in the windows and also includes dormers with fleur-de-lys, indicating that the owner of the building is a descendant of Charles V. Another notable example is the Hôtel de Cluny in Paris, originally the residence of the abbot of Cluny, now the Museum of the Middle Ages. Fine flamboyant details are found in the chapel, the doorways, windows, tower, and roofline.[12] A late example of Flamboyant civil architecture in France is the Parlement de Normandie, now the Palais de Justice, of Rouen (1499-1528), with slender, crocketed pinnacles and dormer windows terminated with fleurons designed by architects Jacques and Roulland Le Roux.[14]

West porch of the Church of Saint-Maclou, Rouen, (1434-1521)

In the fifteenth century, there were relatively few churches constructed entirely in the Flamboyant style in France, where it was more common to commission new, major additions or repairs to older, extant monuments. One significant exception to this trend was the parish Church of Saint-Maclou in Rouen. Commissioned by the Dufour family during the English occupation of Rouen, the remarkably homogenous design of the new parish church reflects the vision of Pierre Robin, the sole master mason hired in 1434 to draft the drawings that governed all construction until the church was consecrated in 1521.[15] Referred to as "monumental architecture in the miniature," the church has elegant double-tiered flying buttresses, fully developed transept façades with portals, curvilinear rose windows, and a projecting polygonal west porch featuring flickering openwork ogee gables—all of which showcase the principles of the Flamboyant style.[16] The influence of Pierre Robin's innovative design was "far reaching in Rouen and Normandy" and lasted into the sixteenth century,[6] when Roulland Le Roux oversaw work on the upper parts of the Tour de Beurre ("Butter Tower") (1485-1507) and the central portal (1507-1510) of Rouen Cathedral.[2] Increasing specialization in Gothic workshops and lodges led to the sophisticated forms characteristic of structures completed in the early sixteenth century, such as the south façade and porch of the church of Notre-Dame de Louviers (1506-1510) and the north tower of Chartres Cathedral designed by architect Jean de Beauce (1507-1513).[17]

The style was also prevalent in other regions, such as the Île-de-France, where the Sainte-Chapelle de Vincennes, a royal chapel constructed by King Charles V of France, serves as a notable example. It was located just outside Paris, next to the massive Château de Vincennes. It took its inspiration from the Sainte-Chapelle in Paris, but in this case the structure had one single floor, and the windows consisting of curvilinear tracery covered nearly all of the walls. It was begun in 1379, but construction was halted by the Hundred Years War; it was not completed until 1552.[18] One significant Flamboyant landmark in Paris is the Tour Saint-Jacques, all that remains of the Church of Saint-Jacques-de-la-Boucherie ("Saint James of the butchers"), built 1509-23, located close to Les Halles, the Paris central market.[A]

Helical staircase tower with Flamboyant Gothic and classicizing decoration, Château de Meillant (1510)

Transition between Flamboyant Gothic and Renaissance (1495-1530)

The transition from Flamboyant Gothic to early French Renaissance began during the reign of Louis XII (1495) and lasted until roughly 1525-1530. This is a brief transition period in which the ogee arch and naturalism of the Gothic style was blended with round arches, flexible forms, and stylized antique motifs typical of Renaissance architecture. Notably, a good deal of Gothic decoration is apparent at the Château de Blois, but it is totally absent from the tomb of Louis XII housed in the abbey-church of Saint-Denis.

In 1495 a colony of Italian artists was established in Amboise and worked in collaboration with French master masons. This date is generally considered to be the starting point of the period of interaction between the Flamboyant Gothic and early French Renaissance styles. In general, theories of building design and structure remained French while surface decoration became Italian. However, there were connections between French architectural production and other stylistic traditions, including Plateresque in Spain and the decorative arts (e.g. painting and stained glass) of the north—especially Antwerp.[19]

The limits of this style, called style Louis XII in French, were variable—especially outside the Loire Valley. In addition to the seventeen-year reign of Louis XII (1498-1515), this period included the end of the reign of Charles VIII and the beginning of that of Francis I, whose rule corresponded with a definitive stylistic turn. Indeed, the creation of the School of Fontainebleau in 1530 by Francis I is generally considered the turning point of the acceptance and establishment of the Renaissance style in France.[20] Early evidence of the intermingling of Flamboyant and classicizing decorative motifs can be found at the Château de Meillant, which was transformed by Charles II d’Amboise, governor of Milan, in 1473. The structure remained fully medieval, but the superposition of the windows in bays connected to each other by extended cord-like pinnacles foreshadows the grid designs of the façades of early French Renaissance monuments. Other notable features include the entablature with classical egg-and-dart motifs surmounted by a Gothic balustrade and the treatment of the upper part of the helical staircase with a semicircular arcade equipped with shells.[21]

In the final years of the reign of Charles VIII, experimentation with Italian ornamentation continued to enrich and mix with the Flamboyant repertoire. With the ascendancy of Louis XII, French masons and sculptors were further exposed to new, classicizing motifs popular in Italy.

In architectural sculpture, the systematic contribution of Italian elements and even the "Gothic" reinterpretation of Italian Renaissance works is evident in the Abbey of Saint-Pierre in Solesmes, where the Gothic structure takes the form of a Roman triumphal arch flanked by pilasters with Lombard candelabra. Gothic foliage, now more jagged and wilted as seen at the Hôtel de Cluny in Paris, mingles with portraits of Roman emperors in medallions at the Château de Gaillon.[22] The maison des Têtes (1528-1532) in Valence is still another striking example where Flamboyant blind tracery and foliage mix with classicizing figures, medallions, and portraits of Roman emperors.

In architecture, the use of brick and stone on buildings from the sixteenth century can be observed (e.g. Louis XII wing of the Château of Blois). The French high roofs with turrets in the corners and the façades with helical staircases perpetuated the Gothic tradition, but the systematic superposition of the bays, the removal of the lucarnes, and the appearance of loggias influenced by the villa Poggio Reale and the Castel Nuovo of Naples are evidence of a new decorative art in which the structure remains deeply Gothic. The spread of ornamental vocabularies from Pavia and Milan also played major roles. Equally important is the fact that Italians also designed formal gardens and fountains to complement French monuments as seen at the Château de Blois in 1499 and the Château de Gaillon shortly thereafter.

The incorporation of Flamboyant Gothic with the classicizing forms of Italy produced eclectic, hybrid structures that were rooted in traditional French building practices yet modernized through the application of imported antique motifs and surface decoration. These transitional monuments led to the birth of French Renaissance architecture.

Belgium

See also: Brabantine Gothic

Flamboyant had little influence in England, where the Perpendicular style prevailed, but variations of Flamboyant, influenced by France but with their own characteristics, began to appear in other parts of continental Europe.[23]

Flamboyant had a particularly strong influence in Belgium, which was then part of the Spanish Netherlands, but was also a part of the Catholic diocese of Cologne. Extraordinarily high towers were a particular feature of the Belgian style. In the 15th century Belgian architects produced remarkable examples of both religious and secular Flamboyant architecture. Major examples include the tower of St. Rumbold's Cathedral in Mechelen (1452-1520), built both as a bell tower and a watch-tower for the defence of the city. The tower is 167 meters high, and was designed to have an even taller spire, 77 meters high, but only seven meters of the spire were actually built. Other notable Flamboyant cathedrals include Antwerp Cathedral, with a tower 123 metres (404 ft) high, and an unusual dome on pendentives decorated with a Flamboyant rib vault. It was never finished but was consecrated in 1521. Other notable Flamboyant cathedrals in Belgium include the Cathedral of St. Michael and St. Gudula, Brussels, and Liege Cathedral.[23]

While the cathedrals were remarkable, the town halls, many built by the prosperous textile merchants of Flanders, were even more flamboyant. They were among the last great statements of Gothic style as the Renaissance gradually came to Northern Europe, designed to showcase the wealth and splendour of their cities. Major examples include the town hall of Leuven (1448), with its multiple, almost fantastic towers;[23], and the town halls of Oudenaarde, Ghent (1518) and Mons (1458).[23]

Germany and Central Europe

Architects in Germany and Central Europe adopted some forms and elements of Flamboyant in the late 14th century and added many innovations of their own. In Germany the new style was sometimes called Sondergotik. The high triple west porch of Ulm Cathedral, designed by Ulrich von Ensingen, was a good example. It was placed at the base of the tower, which was in the center of the facade, a break from earlier Gothic styles. Work on the tower was continued by Ensingen's son after 1419, and much more decoration was added in 1478-92 by another architect, Matthaus Boblinger. The spire was not added until 1881-90, which made it the tallest tower in Europe.[24]

Other remarkable towers, constructed like openwork webs of stone, appeared. These included the additions to the tower of Freiburg Minster begun in 1419 by Johannes Hultz, which featured an open spiral staircase and a lacework octagonal spire.

England

See also: Perpendicular Period

A style which also emphasized great height, later termed Perpendicular, had appeared in England as early as the mid-14th century, at Gloucester Cathedral.[25] The interiors of these cathedrals seemed to be great cages of glass, with an elimination of horizontal levels such as triforia. The flamelike window tracery appeared at Gloucester before it appeared in France.[26] The vaults in the Perpendicular style were particularly complex, divided by extra decorative ribs into multiple compartments and further decorated with hanging gilded and painted ornaments called bosses.[25] The fan vault, with a multitude of spreading ribs, also appeared in England during this period. An early example was found in the cloister of Gloucester Cathedral (1331-1357). Gloucester also featured tracery in free-standing screens of mullions in front of the windows. Other major examples of this early Perpendicular include the nave of Canterbury Cathedral (1379-1405) and Winchester Cathedral (1394-1450).[25]

King Henry VI of England rebelled against what he considered the excesses of Decorated Gothic. In 1447 he wrote that wanted his own chapel "to proceed in large form, clean and substantial, setting apart superfluity of too great curious works of entail and busy moulding." In response to this, the King's architect, John Wastell, designed the chapel of King's College, Cambridge, with towering fan faults (1508-15). The walls seem to be composed entirely of glass, slender columns and tracery. The weight of the elaborate vaults is carried by enormous buttresses on the outside, hidden by side chapels placed between them.[27] Another monument of the late English Gothic is the Henry VII Chapel of Henry VII of England, at the east end of Westminster Abbey, which showed evidence of the influence of the French Flamboyant style.[27] The suspended pendants of the chapel are combined with cone-shaped fan vaults, supported by traverse arches with decorated edges, and decorated with octagonal turrets and trefoil oriel windows. The King's own tomb, in the centre of the chapel, was carved in 1512-18 by the Italian Pietro Torrigiano, and is among the first works of Renaissance art in England.[27]

Spain

See also: Catalan Gothic, Valencian Gothic, and Isabelline (architectural style)

Before the unification of Spain, monuments were constructed in the Flamboyant style in the Crown of Aragon and Kingdom of Valencia. Marc Safont was among the most important architects of the of the Late Middle Ages in the region. He was commissioned to repair the Palau de la Generalitat de Catalunya in Barcelona and worked on this project from 1410 to 1425.[28] He designed the courtyard and elegant galleries of the building.[29] Also notable is the Chapel of Sant Jordi (1432-34), which features a striking façade consisting of an entry portal flanked by windows resplendent with both blind and openwork Flamboyant tracery.[28] The interior of the chapel includes a lierne vault with a keystone depicting Saint George and the dragon.

Following an earthquake in 1428, a replacement Flamboyant rose window on the west façade of the Basílica de Santa Maria del Mar in Barcelona was completed by 1459. Additional examples of the Flamboyant style include the cloister of the Convent of Sant Doménec in the Kingdom of Valencia.

Spain was united by the marriage of Ferdinand of Aragon and Isabella of Castile in 1469, and saw the conquest of Granada, the last stronghold of Moorish occupation, in 1492. Charles V became the Holy Roman Emperor expulsion of the Moors in 1492. Charles V of Spain became Holy Roman Emperor This was followed by a great wave of construction of new cathedrals and churches in what became known as the Isabelline style, after the queen. This late Spanish Gothic style included a mixture of French-inspired Flamboyant tracery and vaulting features, Flemish features, such as fringed arches, and other elements possibly borrowed from Islamic architecture, such as the crossed rib vaults and pierced openwork tracery of Burgos Cathedral.[30] To this Spanish architects, such as Juan Guas, added distinctive and original new features, as seen Monastery of San Juan de los Reyes in Toledo (1488-1496), and the Colegio de San Gregorio (completed 1487.[31]

Juan de Colonia and his son Simón de Colonia, originally from Cologne, are other notable figure of the Isabelline style. They were in turn the chief architects the flamboyant features of Burgos Cathedral (1440-1481), including the open work towers and the remarkable tracery in the star vault in the Chapel of the Constable.[31]

Portugal

Main article: Manueline

The Manueline style was named for King Manuel I of Portugal (reigned from 1495-1523). The style was created in particular to show that Portugal was architecturally as well as politically independent of Spain. Batalha Monastery, begun in 1387 to celebrate the victory of Portugal over King Juan of Castile which brought independence, was modified after 1400 in a Flamboyant style In the same building included elements borrowed by the English Perpendicular style, tracery inspired by French Flamboyant, and German-inspired open-work steeples.[32]

In 1495 Portuguese navigators opened a sea-route to India, and also began trading with Brazil, Goa, and Malacca, bringing enormous wealth into Portugal. King Manuel funded series of new monasteries in churches covered with decoration inspired by banana trees, sea shells, billowing sails, seaweed, barnacles and other exotic elements, as a monument to the Portuguese navigator Vasco de Gama, and to celebrate Portugal's overseas empire. The most lavish example of this decoration is found on the Convent of Christ in Tomar (1510-1514).[33]

Characteristics

Tracery

See also: Tracery

The flamboyant tracery designs were the most characteristic feature of the style.[34] They appeared not only in the stone mullions or framework of the windows, but also in complex pointed blind arcades and arched gables that were stacked one over the other, and which often covered the entire façade. They were also used in balustrades and other features.[35] Interlocking openwork gables and balustrades, as seen on the west porch of the church of Saint-Maclou, Rouen, were often used to disguise or diffuse the mass of buildings.

Flamboyant windows were often composed of two arched windows, over which was a pointed oval design divided by curving lines, called soufflets and mouchettes. Good examples are found in the Church of Saint-Pierre, Caen.[36] Mouchettes and soufflets were also applied in openwork form to gables, as seen on the west façade of Trinity Abbey, Vendôme, and in Flamboyant rose windows like at Sens Cathedral and Beauvais Cathedral.

Façades and Porches

In its monumental manifestation, the term "Flamboyant" typically refers to church façades, though it equally applies to some secular buildings such as the Palais de Justice in Rouen.[9] Church façades and porches were often the most elaborate architectural features of towns and cities, especially in France, and frequently projected out onto marketplaces and town squares.[37] The intricate and dazzling forms of many façades and porches often appealed to their urban contexts; in some cases, new façades or porches were designed to create impressive architectural vistas when viewed from a specific street or square.[38] This architectural response to increasing concerns with the aesthetics of urban space is particularly notable in Normandy, where a striking group of late 15th- and early 16th-century projecting polygonal porches were all constructed in the Flamboyant style (e.g. Notre-Dame, Alençon; La Trinité, Falaise; Notre-Dame, Louviers; and Saint-Maclou, Rouen).[10] Martin Chambiges, the most prolific French architect between c. 1480 and c. 1530, combined three-dimensional forms, such as nodding ogees, with a miniaturized vocabulary of niches, baldachins, and pinnacles to produce dynamic façades with a new sense of depth at Sens Cathedral, Beauvais Cathedral, and Troyes Cathedral.[10] The addition of sumptuous Flamboyant façades or porches provided new public faces to older monuments that survived the Hundred Years' War.[39] Façades and porches often used the arc en accolade, an arched doorway which was topped by short pinnacle with a fleuron, or carved stone flower, often like a lily. The short pinnacle bearing the fleuron had its own decoration of small sculpted forms like twisting leaves of cabbage or other naturalistic vegetation. In addition, there were two slender pinnacles, one on either side of the arch.[40]

Vaults, Piers, and Mouldings

Elision, or the elimination of capitals coupled with the introduction of continuous and "dying" mouldings, are additional noteworthy characteristics of which the parish church of Saint-Maclou in Rouen is a key example.[10] The uninterrupted fluidity and merging of disparate forms led to the emergence for the first time of decorative Gothic vaults in France.[10]

Another characteristic feature were vaults with additional types of ribs, called the lierne and the tierceron, whose functions were purely decorative. These ribs spread out over the surface to make a star vault; a ceiling of star vaults gave the ceiling a dense network of decoration.[41] Another feature of the period was a type of very tall round piller without a capital, from which ribs sprang and spread out upwards to the vaults. They were often used as the support for a fan vault, which branched upward like a spreading tree. A fine example is found in the chapel of the Hotel de Cluny in Paris (1485-1510).[35][40]

Notable Examples of Religious buildings in France

Notable examples of civil architecture in France

Examples of the Flamboyant Gothic Style outside France

Gallery

See also

Look up flamboyant in Wiktionary, the free dictionary.

Footnotes

  1. ^ The church was demolished in 1797 following the French Revolution. See Mérimée database
  2. ^ Content in this section is translated from the existing French Wikipedia article at fr:Architecture_gothique#Le_style_Louis_XII_:_transition_entre_art_gothique_et_Première_Renaissance,_1495-1530; see its history for attribution.

Citations

  1. ^ Hart, Stephen, Medieval Church Window Tracery in England, pp. 1-4, 2010, Boydell & Brewer Ltd, ISBN 1843835339, 9781843835332
  2. ^ a b c Watkin 1986, p. 139.
  3. ^ a b Benton, Janetta Rebold, Art of the Middle Ages, pp. 151-152, 2002, Thames & Hudson (World of Art), ISBN 0500203504
  4. ^ Wilson, Christopher (1990). The Gothic cathedral: the architecture of the great church, 1130-1530. New York, NY: Thames and Hudson. p. 252. ISBN 0500341052. OCLC 21206104.
  5. ^ Ackerman, James S. (1949). ""Ars Sine Scientia Nihil Est" Gothic Theory of Architecture at the Cathedral of Milan". The Art Bulletin. 31 (2): 84–111. doi:10.2307/3047224. ISSN 0004-3079.
  6. ^ a b Neagley, Linda Elaine (2007). "Maestre Carlín and 'Proto' Flamboyant Architecture of Rouen (c. 1380-1430)". In Jiménez, Alfonso Martin (ed.). La Piedra Postrera (Simposio Internacional sobre la catedral de Sevilla en el contexto del gótico final). Seville. p. 47-60.((cite book)): CS1 maint: location missing publisher (link)
  7. ^ Kavaler 2012, p. 259–260.
  8. ^ Adamski, Jakub (2019). "The von der Heyde Chapel at Legnica in Silesia and the Early Phase of the French Flamboyant Style". Gesta. 58 (2): 183–205. doi:10.1086/704253. ISSN 0016-920X.
  9. ^ a b Kavaler 2012, p. 115.
  10. ^ a b c d e f Gothic. doi:10.1093/gao/9781884446054.article.t033435. ((cite encyclopedia)): |website= ignored (help)(subscription required)
  11. ^ "Chapels 24 | Life of a Cathedral: Notre-Dame of Amiens". projects.mcah.columbia.edu. Retrieved 23 June 2020.
  12. ^ a b Watkin 1986, p. 142.
  13. ^ Emery, Anthony (2015). Seats of power in Europe during the Hundred Years War : an architectural study from 1330 to 1480. Oxford: Oxbow Books. ISBN 9781785701047. OCLC 928751448.
  14. ^ "Palais de justice". www.pop.culture.gouv.fr. Retrieved 23 June 2020.
  15. ^ Neagley, Linda Elaine. (1998). Disciplined exuberance : the Parish Church of Saint-Maclou and late Gothic architecture in Rouen. University Park, Penn: The Pennsylvania State University Press. ISBN 0-271-01716-3. OCLC 36103607.
  16. ^ Neagley, Linda Elaine (1988). "The Flamboyant Architecture of St.-Maclou, Rouen, and the Development of a Style". Journal of the Society of Architectural Historians. 47 (4): 376. doi:10.2307/990382.
  17. ^ Kavaler 2012, p. 7–8.
  18. ^ Meunier 2014, p. 48-49.
  19. ^ Wolff, Martha (2011). Kings, queens, and courtiers art in early Renaissance France : [exhibition, "France 1500 : entre Moyen Age et Renaissance", Galeries nationales, Grand Palais, Paris, October 6, 2010 - January 10, 2011 ; "Kings, queens, and courtiers : art in early Renaissance France", Art institute of Chicago, February 27 - May 30, 2011]. Art Institute of Chicago. p. 32. ISBN 978030017025-2. OCLC 800990733.
  20. ^ Babelon, Jean Pierre. (1989). Châteaux de France au siècle de la Renaissance. Paris: Flammarion. ISBN 2-08-012062-X. OCLC 22488607.
  21. ^ Pérouse de Montclos, Jean-Marie (1992). Guide du patrimoine Centre Val de Loire. Paris: Hachette. p. 436-439. ISBN 2-01-018538-2. OCLC 489587981.
  22. ^ Caron, Sophie (2017). "De la Toscane à la Normandie: Les ateliers de sculpteurs sur le chantier de Gaillon". Une Renaissance en Normandie : le cardinal Georges d'Amboise bibliophile et mécène : [ouvrage publié à l'occasion de l'exposition présentée au Musée d'art, histoire et archéologie d'Evreux du 8 juillet au 22 octobre 2017]. Eds. Calame-Levert, Florence; Hermant, Maxence; Toscano, Gennaro. Éditions Gourcuff Gradenigo. p. 75-76. ISBN 978-2-35340-261-8. OCLC 995099626.
  23. ^ a b c d Watkin 1986, p. 166.
  24. ^ Watkin 1986, p. 162-3.
  25. ^ a b c Watkin 1986, p. 152.
  26. ^ Ducher 2014, p. 54.
  27. ^ a b c Watkin 1986, p. 154.
  28. ^ a b Hughes, Robert (1993). Barcelona. New York: Vintage Books. p. 120. ISBN 978-0-307-76461-4. OCLC 774576886.
  29. ^ Carbonell i Buades, Marià (2008). "De Marc Safont a Antoni Carbonell: la pervivencia de la arquitectura gótica en Cataluña". Artigrama. 23: 97-148. S2CID 172385423.
  30. ^ Watkin 1986, p. 174-75.
  31. ^ a b Watkin 1986, p. 174-175.
  32. ^ Watkin 1986, p. 176.
  33. ^ Watkin 1986, p. 177.
  34. ^ Białostocki, Jan (1966). "Late Gothic: Disagreements About the Concept". Journal of the British Archaeological Association. 29 (1): 94. doi:10.1080/00681288.1966.11894934. ISSN 0068-1288.
  35. ^ a b Ducher 2014, p. 52.
  36. ^ Ducher 2014, p. 52-3.
  37. ^ Kavaler 2012, p. 116.
  38. ^ Neagley, Linda Elaine (2008). "Late Gothic Architecture and Vision: Representation, Scenography, and Illusionism". In Reeve, Matthew M. (ed.). Reading Gothic Architecture. Turnhout: Brepols. p. 44-50. ISBN 9782503525365. OCLC 154760861.
  39. ^ Kavaler 2012, p. 122.
  40. ^ a b Renault & Lazé 2006, p. 37.
  41. ^ Ducher 2014, p. 52-53.

References

  • Ackerman, James S. (1949). "'Ars Sine Scientia Nihil Est' Gothic Theory of Architecture at the Cathedral of Milan". The Art Bulletin. 31 (2): 84–111. doi:10.2307/3047224. ((cite journal)): Invalid |ref=harv (help)
  • Adamski, Jakub (2019). "The von der Heyde Chapel at Legnica in Silesia and the Early Phase of the French Flamboyant Style". Gesta. 58 (2): 183–205. doi:10.1086/704253. ((cite journal)): Invalid |ref=harv (help)
  • Babelon, Jean Pierre (1989). Châteaux de France au siècle de la Renaissance. Paris: Flammarion/Picard. ISBN 208012062X. ((cite book)): Invalid |ref=harv (help)
  • Bechmann, Roland (2017). Les Racines des Cathédrales (in French). Payot. ISBN 978-2-228-90651-7. ((cite book)): Invalid |ref=harv (help)
  • Beltrami, Costanza (2016). Building a crossing tower: a design for Rouen Cathedral of 1516. London: Paul Holberton Publishing. ISBN 9781907372933. ((cite book)): Invalid |ref=harv (help)
  • Benton, Janetta (2002). Art of the Middle Ages. New York: Thames & Hudson. ISBN 9780500203507. ((cite book)): Invalid |ref=harv (help)
  • Białostocki, Jan (1966). "Late Gothic: Disagreements About the Concept". Journal of the British Archaeological Association. 29 (1): 76–105. doi:10.1080/00681288.1966.11894934. ((cite journal)): Invalid |ref=harv (help)
  • Bork, Robert (2018). Late Gothic Architecture: Its Evolution, Extinction, and Reception. Turnhout: Brepols. ISBN 9782503568942. ((cite book)): Invalid |ref=harv (help)
  • Bos, Agnès (2003). Les églises flamboyantes de Paris: XVe-XVIe siècles. Paris: Picard. ISBN 9782708407022. ((cite book)): Invalid |ref=harv (help)
  • Bottineau-Fuchs, Yves (2001). Haute-Normandie Gothique: Architecture Religieuse. Paris: Picard. ISBN 9782708406179. ((cite book)): Invalid |ref=harv (help)
  • Carbonell i Buades, Marià (2008). "De Marc Safont a Antoni Carbonell: la pervivencia de la arquitectura gótica en Cataluña". Artigrama. 23: 97–148. S2CID 172385423. ((cite journal)): Invalid |ref=harv (help)
  • Caron, Sophie (2017). "De la Toscane à la Normandie: Les ateliers de sculpteurs sur le chantier de Gaillon". In Calame-Levert, Florence; Hermant, Maxence; Toscano, Gennaro (eds.). Une Renaissance en Normandie: le cardinal Georges d'Amboise bibliophile et mécène: [ouvrage publié à l'occasion de l'exposition présentée au Musée d'art, histoire et archéologie d'Evreux du 8 juillet au 22 octobre 2017]. Montreuil: Gourcuff Gradenigo. pp. 70–76. ISBN 9782353402618. ((cite book)): Invalid |ref=harv (help)
  • Davis, Michael T. (1983). "'Troys Portaulx et Deux Grosses Tours': The Flamboyant Façade Project for the Cathedral of Clermont". Gesta. 22 (1): 67–83. doi:10.2307/766953. ((cite journal)): Invalid |ref=harv (help)
  • Ducher, Robert (2014). Caractéristique des Styles (in French). Flammarion. ISBN 978-2-0813-4383-2. ((cite book)): Invalid |ref=harv (help)
  • Emery, Anthony (2016). Seats of Power in Europe During the Hundred Years War: an architectural study from 1330 to 1480. Oxford: Oxbow Books. ISBN 9781785701030. ((cite book)): Invalid |ref=harv (help)
  • Guillouët, Jean-Marie (2019). Flamboyant architecture and medieval technicality (c. 1400-c. 1530): a micro-history of the rise of artistic consciousness at the end of Middle Ages. Turnhout: Brepols. ISBN 9782503577296. ((cite book)): Invalid |ref=harv (help)
  • Hamon, Étienne (2011). Une capitale flamboyante: la création monumentale à Paris autour de 1500. Paris: Picard. ISBN 9782708409095. ((cite book)): Invalid |ref=harv (help)
  • Hart, Stephen (2012). Medieval church window tracery in England. Woodbridge; Rochester: The Boydell Press. ISBN 9781843835332. ((cite book)): Invalid |ref=harv (help)
  • Hughes, Robert (1993). Barcelona. New York: Vintage Books. ISBN 9780307764614. ((cite book)): Invalid |ref=harv (help)
  • Kavaler, Ethan Matt (2012). Renaissance Gothic: Architecture and the Arts in Northern Europe, 1470-1540. New Haven: Yale University Press. ISBN 9780300167924. ((cite book)): Invalid |ref=harv (help)
  • Mignon, Olivier (2017). Architecture du Patrimoine Française - Abbayes, Églises, Cathédrales et Châteaux (in French). Éditions Ouest-France. ISBN 978-27373-7611-5.
  • Meunier, Florian (2014). Le Paris du Moyen Âge. Editions Ouest-France. ISBN 978-27373-6217-0. ((cite book)): Invalid |ref=harv (help)
  •  ———  (2015). Martin & Pierre Chambiges: architectes des cathédrales flamboyantes. Paris: Picard. ISBN 9782708409750. ((cite book)): Invalid |ref=harv (help)
  • Neagley, Linda Elaine (1988). "The Flamboyant Architecture of St.-Maclou, Rouen, and the Development of a Style". Journal of the Society of Architectural Historians. 47 (4): 374–396. doi:10.2307/990382. ((cite journal)): Invalid |ref=harv (help)
  •  ———  (1998). Disciplined Exuberance: The Parish Church of Saint-Maclou and Late Gothic Architecture in Rouen. University Park: The Pennsylvania State University Press. ISBN 9780271017167. ((cite book)): Invalid |ref=harv (help)
  •  ———  (2008). "Late Gothic Architecture and Vision: Re-presentation, Sceneography and Illusionism". In Reeve, Matthew M. (ed.). Reading Gothic Architecture. Turnhout: Brepols. pp. 37–56. ISBN 9782503525365. ((cite book)): Invalid |ref=harv (help)
  • Pérouse de Montclos, Jean-Marie (1992). Centre: Val de Loire. Paris: Hachette. ISBN 9782010185380. ((cite book)): Invalid |ref=harv (help)
  • Renault, Christophe; Lazé, Christophe (2006). Les Styles de l'architecture et du mobilier (in French). Gisserot. ISBN 9-782877-474658. ((cite book)): Invalid |ref=harv (help)
  • Sanfaçon, Roland (1971). L'architecture Flamboyante en France. Quebec: Les Presses de l'Université Laval. OCLC 1015901639. ((cite book)): Invalid |ref=harv (help)
  • Texier, Simon (2012). Paris Panorama de l'architecture de l'Antiquité à nos jours. Paris: Parigramme. ISBN 978-2-84096-667-8. ((cite book)): Invalid |ref=harv (help)
  • Watkin, David (1986). A History of Western Architecture. Barrie and Jenkins. ISBN 0-7126-1279-3. ((cite book)): Invalid |ref=harv (help)
  • Wenzler, Claude (2018), Cathédrales Gothiques - un Défi Médiéval, Éditions Ouest-France, Rennes (in French) ISBN 978-2-7373-7712-9
  • Wilson, Christopher (1990). The Gothic Cathedral: the architecture of the great church. London: Thames and Hudson. ISBN 9780500341056. ((cite book)): Invalid |ref=harv (help)
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