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Renaissance Gothic: Architecture and the Arts in Northern Europe, 1470-1540 Hardcover – June 30, 2012

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Renaissance Gothic: Architecture and the Arts in Northern Europe, 1470-1540 + Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400-circa 1204
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Product Details

  • Hardcover: 344 pages
  • Publisher: Yale University Press; First Edition / First Printing edition (June 30, 2012)
  • Language: English
  • ISBN-10: 030016792X
  • ISBN-13: 978-0300167924
  • Product Dimensions: 11.3 x 8.9 x 1 inches
  • Shipping Weight: 3.6 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,589,219 in Books (See Top 100 in Books)

Editorial Reviews


"As to be expected of Yale and Metropolitan Museum of Art publications, this is a beautifully illustrated book that complements the tapestries that inspired the research. Thomas Campbell and Elizabeth Cleland are to be congratulated on producing a timely and important book that presents new object-based and archival research by the leading tapestry scholars."—Deborah H. Cibelli, Sixteenth Century Journal
(Deborah H. Cibelli Sixteenth Century Journal)

About the Author

Ethan Matt Kavaler is professor of art history at the University of Toronto.

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5 of 5 people found the following review helpful By Ray TOP 500 REVIEWER on October 19, 2013
Format: Hardcover
If you enjoy Gothic architecture, most likely you will have seen those examples of Gothic that appeared when it was a renovation in architectural style, the period around the end of the 12th century when Gothic began to rob the Romanesque style of its standing to became the dominant ecclesiastical form. This was initially the case in medieval France, where the style was also a reflection of the wealth of medieval French cities as well as an expression of the power of the French monarchy. These structures are some of the most impacting in the history of architecture, and even when one stands in the very early and relatively unadorned structure of, say, Sens Cathedral, its difficult not to be impacted by the beauty and format of the design.

As time progressed, the Gothic style began spreading from the heart of the Île-de-France into ever-wider areas, first in the greater France itself, but then over continental Europe and even across the channel to England. Although the style perhaps never was fully accepted in Italy, the "cathedral race" had by the early 13th century begun in earnest, and cities across France and Europe began to feel that to not have a Gothic cathedral was a mark of inferiority. This, over time, drove the master builders of the period to continue to extend the style ever farther as the prestige associated with having a Gothic cathedral outshining the one in the next nearest city became a constant factor among both the church and the crown. This meant increasing height of the interior elevation (to find its zenith, no pun intended, in Beauvais), but it also meant to see the style itself increasingly embellished as successive generations of builders tried to prove that they could do "more" with the adornment and execution of the style than ever before.
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