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Earthlore Introduction | Earthlore Contents | Gothic Preface | Gothic Introduction | E-mail
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It
does not belittle other cathedrals to refer to Notre Dame de
Paris as the 'World Ambassador of Gothic Cathedrals.' History's
winding ways have already decreed as much. For many, their first
concept of Gothic derives from some reference to this grand structure.
It matters not whether we have physically visited Notre Dame, its
persona dominates the Gothic landscape. Victor Hugo's famous novel
featuring the moving characterization of the hunchback, Quasimodo,
has served the notoriety of the cathedral well. Yet, factual
history has claimed this aged lady as a prominent figure near the
center stage of its own story.
| Cambridge History of English Literature, The Literary Influence of the Middle Ages Medieval literary studies undoubtedly encouraged the taste for such romantic effects as are beheld when abbeys or ruined castles are visited by twilight or moonlight; but the literary Gothic terror or wonder could be exercised without any more knowledge of the Middle Ages than Victor Hugo possessed, whose Notre Dame de Paris owes hardly anything of its triumph to medieval books. On the other hand, there was much literature of the Middle Ages known and studied in the earlier part of the eighteenth century without any great effect upon the aims or sensibilities of practising men of letters. There seems to have been no such prejudice against medieval literature, as there undoubtedly was, for a long time, against Gothic architecture. “Black letter” poetry and the books of chivalry were, naturally and rightly, believed to be old-fashioned, but they were not depreciated more emphatically than were the Elizabethans; and, perhaps, the very want of exact historical knowledge concerning the Middle Ages allowed reading men to judge impartially when medieval things came under their notice. —The Literary Gothic Terror or Wonder. |
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Bibliography
Dictionnaire raisonné de l'architecture
françaisedu XIe au XVIe siècle, E. Viollet-le-Duc, Paris (1858-68)
Mont Saint-Michel and Chartres,
Henry Adams (1904)
Gothic Painting, Jacques
Dupont & C. Gnudi, Skira (1954)
The Gothic Cathedral, Otto
von Simson, Pantheon, NY (1956)
The Gothic, Paul
Frankl , Princeton U. Press (1960)
The Cathedral Builders, Jean
Gimpel, Grove Press, NY (1961)
Gothic Architecture, Robert
Branner, G. Braziller, NY (1961)
High Gothic, Hans
Jantzen , Pantheon, NY (1962)
Medieval Art I, II, III Georges
Duby, Skira, Geneva (1966-67)
The Medieval Architect, J.
H. Harvey, London (1972)
The Age of the Cathedrals, Art
and Society 980-1420,Georges Duby, London (1981)
French Gothic Architecture of the 12th
and 13th Centuries, J. Bony , Berkeley (1983)
The Gothic Cathedral, C.
Wilson , Thames & Hudson (1990)
The Art of Gothic, Könemann
Verlagsgesellschaft mbH, (1999) |
| Development & Production Credits |
| Theme
Editor : Nicole Blackford —
Primary Text : Rhey Cedron Art Direction : Thierry Alberto — Art Research : Malcolm Hurrell Principal Photography : Rhey Cedron Structural Design : Mark Nelson — Research Assistant : Walter McCrae Support Production : Henry Craig, Joan Flandrin, Clara Kelly |
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