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YALE UNIVERSITY PRESS PAUL FRANKL REVISED BY PAUL CROSSLEY - — ' 1 1 J J » P -M *"(cid:3)(cid:3)*i i- Gothic Architecture Paul Frankl Revised by Paul Crossley This magisterial study of Gothic architecture traces the meaning and development of the Gothic style through medieval churches across Europe. Ranging geographically from Poland to Portugal and from Sicily to Scotland and chronologically from 1093 to 1530, the book analyzes changes from Romanesque to Gothic as well as the evolution within the Gothic style and places these changes in the context of the creative spirit of the Middle Ages. This book is a history - a view of things created, and more than that, an analysis of the essence of the Gothic style and of the ideas that inspired its development. Y R A In its breadth of outlook, its command of R 6 B 1 detail, and its theoretical enterprise, Frankl’s LIare21 book has few equals in the ambitious Pelican C u0 q I A History of Art series. It is single-minded in its LSM B y pursuit of the general principles that informed Ue, Pln all aspects of Gothic architecture and its cul¬ po Not Cs ture. In this edition Paul Crossley has revised O o T B the original text to take into account the prolif¬ S O eration of recent literature - books, reviews, B exhibition catalogues, and periodicals - that has emerged in a variety of languages. New illustrations have also been included. YALE UNIVERSITY PRESS PELICAN HISTORY OF ART FOUNDING EDITOR: NIKOLAUS PEVSNER PAUL FRANKL GOTHIC ARCHITECTURE REVISED BY PAUL CROSSLEY $&(cid:3)*** •& r ; R W M K:_ * ItI (cid:3)J r l jfiggsg 1 -.. “ 1 WT i ; ‘ V 'wl^sS - ,(cid:3)JST <j --' JIbm (cid:3)(cid:3)I MM |\- ;::: *!. i- ,j|•]*' Library of Congress Cataloging-in-Publication Data First published 1962 by Penguin Books Ltd Revised edition by Paul Crossley Frankl, Paul, 1878-1962. first published 2000 by Yale University Press Gothic Architecture / Paul Frankl, revised by Paul Crossley p. cm. - (Pelican history of art) Copyright © Paul Frankl, 1962 Includes bibliographical references and index. New material copyright © Paul Crossley 2000 ISBN 0-300-08798 5, ISBN 0-300-08799 3 (paper: alk. paper) 00-13153 All rights reserved. This book may not be reproduced in whole CIP or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by Set in Monophoto Ehrhardt by Best-set Typesetter reviewers for the public press), without written permission from Printed in Singapore the publishers. Designed by Sally Salvesen 10 9 8 7654321 Title page illustration: Reims Cathedra Acknowledgements In editing this book I have been encouraged, helped and cor¬ Without the help of a wider community of scholars and friends a rected by many colleagues and friends. Without the energy and book of this scope would have been a thin offering. Corrections, off¬ quick understanding of Alexandra Gajewski-Kennedy, who prints, books, unpublished manuscripts, insights, suggestions and cheerfully stepped in at the later stages of the work to help as my general messages of good will, came, in various forms, from the fol¬ research assistant, this edition would probably have never seen lowing: Klara BeneSovska, Paul Binski, Yves Bottineau-Fuchs, the light of day. Over the years, Christopher Wilson has put his Christoph Brachmann, Louisa Connor, Peter Diemer, Peter Draper, learning and judgement at my disposal and saved me from many Peter Fergusson, Roza Godula, Reiner Haussherr, Sandy Heslop, a faux pas. Peter Kidson has let me ransack his library and profit Lech Kalinowski, Terryl Kinder, Marian Kutzner, the late Larry from his wisdom, and Peter Lasko deserves my thanks because he Hoey, Dobroslav Libal, John Maddison, Adam Milobedzki, asked me to write the new edition, and then showed a super¬ Phillip Lindley, Richard Morris, Norbert Nussbaum, Anne Prache, human patience at its intermittent progress. The work of bring¬ Mayra Rodriguez, Willibald Sauerlander, Wolfgang Schenkluhn, ing Frankl up-to-date began in the History of Art Department of Ulrike Seeger, Veronica Sekules, Robert Suckale, Krysia and Manchester University and ended at the Courtauld Institute in Wojtek Sztaba, Marvin Trachtenberg, Tomasz Torbus, Tomasz London, so I can look back with gratitude on two great art his¬ Weclawowicz, Christopher Welander, Jeroen Westerman, Evelin torical institutions and on friends and colleagues who inspired Wetter, Mary Whiteley, George Zarnecki and Marlene Zykan. To all and supported me there. In Manchester I would single out Reg these friends and colleagues I extend my warmest thanks. Dodwell (much-missed), Sue and Andrew Causey, Suzy and A project as bibliographical as this one depends wholly on good Humfrey Butters, David O’Connor, Christa Grossinger and libraries. The John Rylands Library in Manchester and the British the constant inspiration of Jonathan Alexander. Diane Sanderson Library in London have proved essential on many occasions. My engendered, and endured, my enthusiasms. I have also had greatest debts, however, are to Sue Price and Michael Doran and the privilege of teaching and working at the Courtauld, where I the staff of the Courtauld Institute Library, and to the librarians of have found encouragement and generosity of spirit. Eric Fernie the Warburg Institute. Without their courtesy and helpfulness, kindly but firmly rescued the project from impending stagna¬ without the remarkable resources in their care, and without free tion. I look back with pleasure and profit on conversations with access to both libraries, this edition would have been unthinkable. him and with Ron Baxter, Georgia Clarke, Jas Eisner, Michael In the end every book depends on the good will and efforts of Kauffmann, John Newman and Rose Walker. Lindy Grant gen¬ the publisher, and among those many individuals at Yale erously shared with me her knowledge of French Gothic, and, as University Press (and those connected with it) whose ability and Curator of the incomparable Conway Library, has always been enthusiasm contributed to this volume, I would like to thank Ruth willing to help in more practical ways. I have also enlarged my Applin, Beatrix McIntyre, John Nicoll, Sally Nicholls, Susan understanding of medieval art history in the civilized ambience Rose-Smith (the most sympathetic of picture researchers), and the of her Courtauld medieval work-in-progress seminars. I owe a dedicated and discerning editor, Sally Salvesen, who had every particular debt to Joanna Cannon and John Lowden for their reason to lose faith in the project, but never did so. Without her inimitable mixture of good humour and humane intelligence. As perceptive encouragement this edition would simply not exist. well as colleagues and friends, my students at the Courtauld During the fifteen years this edition has taken to complete (it deserve my thanks. They may have delayed the completion of was meant to be five) ‘Frankl’ has distracted me more than it ought this book, but it would be a poor thing without them. I can think from my long-suffering children, Nicholas and Katy, and from my of many who have given more than they have got, as their names wife, Joany. Despite all that, they have tolerated and supported me in the text will show: Tim Ayers, Steffani Becker-Hounslow, in every way. It is to Joany that I and the readers of this edition owe Giovanni Freni, John Goodall, Alexandra Kennedy, Zoe Opacic, their greatest debt. Lucy Ormerod, Richard Plant, Andreas Puth, Achim Paul Crossley Timmermann. Courtauld Institute Contents Introduction by Paul Crossley 7 Foreword 33 Maps 35 part one: The History of Gothic Architecture Introduction 41 1. The Aesthetic Function of the Rib 41 2. The Stylistic Significance of the Rib-Vault 48 1. The Transition 51 1. The Gothic Rib-Vaults of the First Generation (1093-1120) 51 2. Diagonality of Shafts, Multipartite Vaults, Pointed Arches, Keystones 53 3. The Ridge-Rib 64 4. Vaults with Arched Ridges 65 2. The Early Gothic Period 67 1. The Beginnings of the Gothic Structural System 67 2. Changes in Capitals and Bases 84 3. The Exposed Flying Buttress 86 4. Facades, Towers, Gables, Tabernacles 87 5. Hall-Churches 91 6. The Early Gothic Style in the Cistercian Order 93 7. The Spread of the Early Gothic Style and the Passive Transition 98 8. The Tierceron 101 3. The High Gothic Style, 11 g4~i300 105 1. The Organic Unification of Interior and Exterior. Finials and Balustrades 105 2. The High Gothic Pier. Tracery. Gargoyles 114 3. Horizontal Fusion in England and Spain 123 4. Glazed Triforia. Windows and their Gables. The Spherical Triangle. Cusps in Tracery 5. Fafades. Doors. Blind Arcades and Tracery. The Elimination of Capitals 138 6. The Tierceron Star-Vault 146 7. The Spread of the Gothic Style, 1200-50 146 8. Regularity of Structure. Piers with Grooves. Triradials 161 9. The Sharpening of Profiles. Piers without Capitals. The Ogee Curve 165 10. Autonomous Tracery 171 11. The Gothic Wall 174 12. The Culmination of the High Gothic Style 175 13. The Spread of the Gothic Style, 1250-1320 181 4. The Late Gothic Style 187 1. New Varieties of Ribs. Liernes. Net-Vaults 187 2. Curvilinear and Rectilinear 191 3. The Relaxation of Strict Regularity. Hall-Choirs 195 4. Pendant Bosses. Flying Ribs. Net-Vaults with Interrupted Ribs. Concave-sided Gables. Choirs with an Even Number of Sides 200 5. The Fan-Vault 209 6. The Spread of the Gothic Style in the Late Gothic Period 209 7. The Beginnings of the Flamboyant 216 8. Variations between 1390 and 1420 219 9. The Mature Late Gothic Style in Germany 224 10. The Mature Flamboyant 231 11. Spiral Shafts. Double-curved Ribs. Concave Profiles. Concave-sided Arches. Arches like Branches of Trees. Diamond-Vaults 233 12. Continuous Recession 242 13. The Gothic Style and the Style of the Renaissance 258 14. The Survival of the Gothic Style 259 part two: The General Problems of the Gothic Style 1. The Term ‘Gothic’ and the Concept of the Gothic Style 263 2. The Development of the Gothic Style seen as an Immanent Process 264 3. The Meaning and the Purpose of Church Architecture 269 4. Symbols of Meaning 271 5. Form Symbols 274 6. Gothic Architecture considered as Art 277 7. Secular Architecture during the Period of the Gothic Style 278 8. Gothic Sculpture 290 9. Gothic Painting 293 10. The Gothic Style and Scholasticism 295 11. The Root of the Gothic Style 297 Notes 301 Bibliography 371 Index 399 Introduction by Paul Crossley Frankl’s Text: Its Achievement and Significance THE NEW EDITION presented in terms of what we now know and think. I have therefore included as much recent literature as I can master, In its breadth of outlook, its command of detail and its though some readers will no doubt spot the gaps left theoretical enterprise, Frankl’s Gothic Architecture has few unplugged, and find my treatment selective, even arbitrary. equals in the ambitious Pelican History of Art series. As a The new edition is intended to make Frankl’s book, comprehensive study of the Gothic style and its roots in the which has long been out of print, once again usable as an spirituality of the Middle Ages it is still unsurpassed. But its introduction to the study of Gothic architecture. With that very qualities have always made it something of an outsider. in mind, I have added to, or altered, the text in four ways. Published in 1962, a few months after the author’s death Firstly, the Introduction explains Frankl’s theoretical at the age of eighty-three, it seemed to belong to a foreign method and tries to clarify those areas of his argument intellectual world - not the England and America of the where the student might find him obscure or misleading. It 1960s but the academic Germany of the 1920s and 30s. also assesses Frankl’s influence in the historiography of the One American reviewer summed up the book as ‘curious’;1 Middle Ages, and sketches out general trends in the more another found it ‘difficult to review because of Frankl’s recent study of Gothic architecture. Secondly, I have been highly personal combination ... of theory and fact’.2 No forced to alter Frankl’s text on points of fact rather than volume in the Pelican series depends so heavily on a theore¬ opinion (though the distinction is not always clear), some¬ tical matrix, no comparable study pursues so intently the times quite radically, but without, I hope, disturbing the general principles which inform all aspects of Gothic archi¬ unique tone of his writing. Where he was wrong or mislead¬ tecture and its surrounding culture. To explain Frankl’s the¬ ing I have either omitted the material or re-written it, as I ory critically is one of the main purposes of this edition, and believe he would have done himself. The third, and most particularly of this Introduction. extensive revision concerns the footnotes. Here I have had Our second aim is to bring Frankl’s text up to date in the the space to correct, supplement and discuss Frankl’s text, light of recent literature on Gothic architecture. This has and to update his treatment of individual buildings in the proved to be a daunting task. Geographically, Frankl’s sub¬ light of the latest research. The footnotes are therefore ject stretches from Poland to Portugal, from Sicily to pointers to a more recent literature and at the same time Scotland; chronologically it ranges from Durham in 1093 to commentaries - some of them extensive - on matters of Halle an der Saale in 1530. While it might just have been style, chronology, patronage and meaning. They sometimes conceivable that Frankl (who was prodigiously learned on amount to resumes of the latest thinking on the subject in the literature of Gothic) could have read everything of hand. They are best read in parallel with Frankl’s text. The importance on medieval architecture within those vast lim¬ fourth component of the revision is the bibliography. It is its, it is now clear that any pretence to inclusiveness would bound to be incomplete, but its aim is to be reasonably com¬ be futile. The proliferation of literature on Gothic architec¬ prehensive for a synoptic survey of this kind and to point ture in the last forty years - books, reviews, exhibition cata¬ readers to a secondary literature that they might otherwise logues and periodicals - in a variety of languages, has made have missed. it technically impossible for any editor to be an authority on the whole period. Indeed, it is doubtful if anyone today could w'rite a book of such scope. Worse still, Frankl’s text is PAUL FRANKL (1878-1962) not as advanced as its 1962 date might suggest. Effectively, it was written between 1947, when Nikolaus Pevsner, the Paul Frankl was born in Prague on 22 April 1878, into an old general editor of the series, commissioned it, and 1956; it Jewish family of writers and scholars. He first studied archi¬ then took six years to translate the finished text from tecture, but then took his doctoral degree at Munich Uni¬ German into English and prepare it for publication. In those versity under Berthold Riehl, submitting his dissertation on six years there appeared a number of works which decisively south German stained glass in 1910.4 To the end of his life, altered our understanding of Early and High Gothic in medieval stained glass remained one of his special interests. Europe.3 The editor of this edition was therefore faced with A second, equally long-term, fascination was the theory of the task of mastering almost half a century of scholarship on art and its relationship to art history. His period at Munich every aspect of European Gothic architecture. Complete brought him under the spell of one of the founding fathers coverage of this colossal body of information and commen¬ of German and European art history, Heinrich Wolfflin, tary is inevitably a futile quest, but the challenge cannot be Professor of the History of Art at the university from 1912 avoided. If Frankl’s text is to be of real use it has to be re¬ to 1924. Wolfflin became his teacher, mentor and life-long