Flamboyant
Flamboyant (from
It is characterized by double curves forming flame-like shapes in the
The style was particularly popular in Continental Europe. In the 15th and 16th centuries, architects and masons in the Kingdom of France, the Crown of Castile, the Duchy of Milan, and Central Europe exchanged expertise through theoretical texts, architectural drawings, and travel,[7][8] and spread the use of Flamboyant ornament and design across Europe.[9][10] Notable examples of Flamboyant style are the west rose window of Sainte-Chapelle (1485–1498); the west porch of the Church of Saint-Maclou, Rouen, (c.1500–1514); the west front of Troyes Cathedral (early 16th century), and a very early example, the upper tracery of Great West Window of York Minster (1338–1339).[1] Further major examples include the chapel of the Constable of Castile (Spanish: Capilla del Condestable) at Burgos Cathedral (1482–94); Notre-Dame de l'Épine, Champagne; the north spire of Chartres Cathedral (1500s–); and Segovia Cathedral (1525–).[11]
The Late Gothic style appeared in Central Europe with the construction of the new
In the late 15th and early 16th centuries, Flamboyant forms spread from France to the
The term "Flamboyant" was first used by the French artist
Notable examples of Flamboyant in France include the west rose window of Sainte-Chapelle in Paris, the transepts of
Origins
Although the precise origin of the Flamboyant style remain unclear,
Tracery patterns of the 14th century are either rich, flame-like forms inspired by the English Decorated (e.g. west façade of York Minster) or the "panelled severity" of English Perpendicular style (e.g. King's College Chapel, Cambridge).[22] According to Robert Bork, "continental builders borrowed almost exclusively from the Decorated style, which had largely passed out of fashion in England by 1360, rather than from the more current Perpendicular style".[20] The clear rejection of the grid-like forms in France indicates some awareness of the contrasting styles.[20] The emergence of the Flamboyant style was a gradual process. What has been termed "proto-Flamboyant" appeared at the Saint-Ouen Abbey, Rouen in the inner wall of the north transept between 1390 and 1410.[8] No flowing, double-curved forms were used there but the "eight double lancet panels seem to spin around a quatrefoil center".[8] Although this rose motif appears dynamic and in motion, its design was not based on the double-curve. It is an early example of experimentation with tracery forms that anticipates the use of flowing, double-curve forms in Normandy. More so than the great churches of northern France, palaces constructed by royal and elite patrons provided "fertile grounds for innovation"[21] with curvilinear tracery in France while England turned to the Perpendicular style.
France
The term "Flamboyant" was coined in the early 19th century, primarily to refer to French monuments [23] with flame-like, curvilinear tracery that were constructed between circa 1380 and 1515. The Flamboyant style appeared in France during the Hundred Years' War against England (1337–1444). Despite this, the 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. Features of the Flamboyant style are richly articulated façades, very high, lavishly decorated porches, towers, and spires. Early examples included the castle chapel of John, Duke of Berry, at Riom (1382), the fireplace in the great chamber (1390s) of the ducal palace at Poitiers, and in the La Grange chapels (c. 1375)[24] at Amiens Cathedral.
Residences of the nobility were among the earliest structures that were entirely built in the Flamboyant style.
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Flamboyant openwork tracery, fireplace and chimney, Salle des pas perdus, Palace of Poitiers (c. 1390)
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Chapels commissioned by Jean de la Grange, northwest corner, Amiens Cathedral (c. 1375). Note the use of curvilinear mouchettes and soufflets at the top of the windows.
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Palais Jacques Coeur, Bourges (1444–1451)
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The Dunois staircase, Château de Châteaudun (1459–1468)
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Gable window of theHotel de Cluny, Paris (15th century)
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Lucarne, west façade of the formerParliament of Normandy, now the Palais de Justice, Rouen(1499–1507)
In 15th-century France, few churches were constructed entirely in the Flamboyant style; it was more common to commission additions to existing structures. One exception is the Church of Saint-Maclou in Rouen, which was commissioned by the Dufour family during the English occupation of the town. It was designed by the master mason Pierre Robin, who was in charge of construction from 1434 until the church was consecrated in 1521.[29] The church, which is referred to as "monumental architecture in the miniature", has double-tiered flying buttresses, fully developed transept façades with portals, curvilinear rose windows, and a projecting polygonal west porch with openwork ogee gables.[30] The influence of Pierre Robin's design lasted into the 16th century,[8] 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.[4] Increasing specialization in Gothic workshops and lodges led to the sophisticated forms characteristic of structures that were completed in the early 16th 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, which were designed by architect Jehan de Beauce (1507–1513).[31]
The style also appeared early in Île-de-France. The west rose window of the Sainte-Chapelle was made between 1485 and 1498 by a glass artist known only as The Master of the Life of Saint-John the Baptist. It is nine meters in diameter, with 89 sections of glass, of which all but nine are original.The curling tracery of the window spills out onto the exterior of the west façade.[32]
where the
In the Loire Valley, the west front of Tours Cathedral was a notable example of Flamboyant architecture. As the French Renaissance began with the royal chateaux along the Loire, the towers of the cathedral were updated with domes and lanterns in the new style, completed in 1507.[34]
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West rose window of Sainte-Chapelle, Paris (1485-1498)
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Façade of Sainte-Chapelle de Vincennes (completed 1559)
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The Butter Tower of Rouen Cathedral (1485–1507)
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Rose window and façade of south transept, Sens Cathedral (1490–1518)
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South porch of Notre-Dame de Louviers (1506–1510)
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Detail of the North Tower of Chartres Cathedral (1507–1513)
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Tour Saint-Jacques, Paris (1509–1523)
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South rose window of Amiens Cathedral (16th c.)
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North tower of Bourges Cathedral (1508-1515)
Beyond northern France, churches were also enlarged and updated with additions in the Flamboyant style. Due to its size and decoration, the abbey-church of Saint-Antoine in
At
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West façade, Abbey-church of Saint-Antoine,Saint-Antoine-l'Abbaye(15th century)
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Bourbons chapel, Lyon Cathedral, engraving by Ebenezer Challis after a drawing by Thomas Allom (19th century)
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Pendant vaults and mouldings with monograms, Bourbons chapel, Lyon Cathedral (late 15th century)
Transition between Flamboyant Gothic and Renaissance (1495–1530)[B]
The transition from Flamboyant Gothic to early
In 1495, a colony of Italian artists was established in
The limits of this style, which is called style Louis XII in French, were variable, especially outside the Loire Valley. This period includes the seventeen-year reign of Louis XII (1498–1515), the end of the reign of Charles VIII, and the beginning of that of Francis I, whose rule corresponded with a definitive stylistic change. 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.[39] 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 semi-circular arcade equipped with shells.[40] In the final years of the reign of Charles VIII, experimentation with Italian ornamentation continued to enrich and mix with the Flamboyant repertoire.[41] With the ascendancy of Louis XII, French masons and sculptors were further exposed to new, classicizing motifs that were popular in Italy.[41]
In architectural sculpture, the systematic contribution of Italian elements and the "Gothic" reinterpretation of Italian Renaissance works is evident in the
In architecture, the use of brick and stone on buildings from the 16th century can be observed, for example in the Louis XII wing of the
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.
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Louis XII wing of theChâteau de Blois(1498–1503)
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Fusion of Flamboyant Gothic and Renaissance exterior decoration at Château de Gaillon (1502–1510)
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Burial of Christ, Solesmes Abbey (1496)
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Chapel vault with classicizing decoration, church of Saint-Pierre, Caen, by Hector Sohier (1518–1545)
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Southeast side of the church of Saint-Pierre, Caen, showing combinations of Flamboyant Gothic and antique forms
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The Longueville staircase, Château de Châteaudun, showing juxtaposition of Flamboyant Gothic and antique decoration
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Detail of the Longueville staircase, Château de Châteaudun, showing juxtaposition of Flamboyant Gothic and antique decoration
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Maison des Têtes (1528–1532),Valence
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Angers Cathedral, a Renaissance lantern atop the Flamboyant Gothic central tower (finished 1515)
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Tours Cathedral (finished 1507) with Renaissance lanterns atop the flamboyant towers
Low Countries
Variations of Flamboyant, influenced by France but with their own characteristics, began to appear in other parts of continental Europe.
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Tower ofSt Rumbold's Cathedral in Mechelen(1452–1520)
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Lantern tower,Antwerp Cathedral, consecrated 1521
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Cathedral of St Michael and St Gudula, Brussels (1485–1519)
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Grote Kerk (Breda), Breda (1410–1547)
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St. John's Cathedral ('s-Hertogenbosch), 's-Hertogenbosch (1220–1530)
The town halls of Belgium, many of which were 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, and were designed to showcase the wealth and splendour of their cities. Major examples include the town hall of Leuven (1448–1469) with its multiple, almost fantastic towers,[43] and those of Brussels (1401–1455), Oudenaarde (1526–1536), Ghent (1519–1539), and Mons (1458–1477).[43]
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Leuven's Town Hall (1448–1469)
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Detail of the façade of Leuven's Town Hall
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Brussels' Town Hall (1401–1455)
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Oudenaarde's Town Hall (1526–1536)
Adaptations in Holland and of Zeeland
Many churches in the former Counties of Holland and of Zeeland are built in a style sometimes inaccurately separated as Hollandic and as Zeelandic Gothic. These are in fact Brabantine Gothic style buildings with concessions necessitated by local conditions. Thus (except for Dordrecht), because of the soggy ground, weight was saved by wooden barrel vaults instead of stone vaults and the flying buttresses required for those. In most cases, the walls were made of bricks but cut natural stone was not unusual.
Everaert Spoorwater played an important role in spreading Brabantine Gothic into Holland and Zeeland. He perfected a method by which the drawings for large constructions allowed ordering virtually all natural stone elements from quarries on later Belgian territory, then at the destination needing merely their cementing in place. This eliminated storage near the construction site, and the work could be done without the permanent presence of the architect.
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Gouda's Town Hall
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Middelburg's Town Hall
Spain
Before the unification of Spain, monuments were constructed in the Flamboyant style in the Crown of Aragon and Kingdom of Valencia, where Marc Safont was among the most important architects of the Late Middle Ages. Safont was commissioned to repair the Palau de la Generalitat de Catalunya in Barcelona and worked on this project from 1410 to 1425.[44] He designed the building's courtyard and elegant galleries.[45][page range too broad] Also notable is the Chapel of Sant Jordi (1432–34), which has a striking façade consisting of an entry portal flanked by windows resplendent with blind and openwork Flamboyant tracery.[44] The chapel's interior includes a lierne vault with a keystone depicting Saint George and the Dragon.
Following the 1428 Catalonia earthquake, a replacement Flamboyant rose window on the west façade of the church of Santa Maria del Mar, 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
Juan de Colonia and his son Simón de Colonia, originally from Cologne, are other notable architects of the Isabelline style; they were the chief architects of the flamboyant features of Burgos Cathedral (1440–1481), including the openwork towers and the tracery in the star vault in the Chapel of the Constable.[47]
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Façade of the Saint George chapel in the Generalitat Palace, Barcelona (1432–1434)
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Vault of the Saint George chapel in the Generalitat Palace, Barcelona
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Rose window, west façade, Basílica de Santa Maria del Mar, Barcelona (1459)
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Cloister of the Convent of Sant Doménec, Valencia
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Colegio de San Gregorio (Completed 1487)
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Decoration of Colegio de San Gregorio (1488–1496)
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Vaults of the lower cloister of the Monastery of San Juan de los Reyes in Toledo (1477–1504)
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Star vault in the Constable Chapel of Burgos Cathedral by Simón de Colonia
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Rose window of west façade of Toledo Cathedral (end of 15th century)
Portugal
The
In 1495, Portuguese navigators opened a sea-route to India and began trading with Brazil,
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Batalha Monastery (1386–1517)
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Flamboyant window of Batalha Monastery (1386–1517)
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Belem(1501–158)
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Marine themed decoration of the Chapter House window of the Convent of Christ (Tomar) (1510–1514)
Central Europe
Architects in central Europe adopted some forms and elements of Flamboyant in the late 14th century, and added many innovations of their own. The Late Gothic buildings of
Other remarkable towers were constructed like openwork webs of stone; these include Johannes Hultz's additions to the tower of Freiburg Minster, which had an open spiral staircase and a lacework octagonal spire; the additions were begun in 1419.
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West porch and tower of Ulm Minster (begun late 14th century, completed 19th)
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Detail of the tower of Ulm Minster, 19th century.
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Detail of the tower of Freiburg Minster
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Looking up into the spire of Freiburg Minster (after 1419)
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Exterior of St. Barbara's Church, Kutná Hora, 15th century, roof 19th.
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Vault of the Vladislav Hall, Prague Castle (1490-1502)
British Isles
Flamboyant had little influence in England, where the Perpendicular style prevailed.[43] Flamboyant architecture was not common in the British Isles but examples are numerous. The flame-like window tracery appeared at Gloucester Cathedral before it appeared in France.[52] In Scotland, Flamboyant detailing was employed in window tracery of the northern side of the nave at Melrose Abbey, and for the west window that completed the construction of Brechin Cathedral.[53] Melrose Abbey had been destroyed during the English invasion of 1358 and the initial rebuilding followed the traditions of English masons. From c.1400, the Parisian master-builder John Morow began work on the Abbey, leaving an inscription identifying him in the church's south transept.[53] Morow had possibly been brought to Great Britain by Archibald Douglas, 4th Earl of Douglas, for whom he also worked on Lincluden Collegiate Church.[54] The design of some windows in both Brechin and Melrose are so similar it is possible Morow or his team of Continental masons worked on both. Comparison can also be made with the chapel (1379–) of the Château de Vincennes, a castle and royal residence near Paris.[53] Somewhat later, further Flamboyant work was done on the western bays of Brechin Cathedral.[53]
In England, the contemporaneous Late Gothic (or Third Pointed) style Perpendicular Gothic was prevalent from the middle 14th century. A very early example of Flamboyant tracery is found in the top of the Great West Window in York Minster—the cathedral of the Archbishop of York. It also appears in the Flamboyant curvilinear bar-tracery of St Matthew's Church at Salford Priors, Warwickshire.[1][55]
Characteristics
Tracery
The flamboyant tracery designs are the most characteristic feature of the Flamboyant style.[56] They appeared in the stone mullions, the framework of windows, particularly in the great rose windows of the period, and in complex, pointed, blind arcades and arched gables that were stacked atop one another, and which often covered the entire façade. They were also used in balustrades and other features.[57] 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.
An important early example from the late 15th century is the west rose window of the royal chapel, Sainte-Chapelle (1485–98), depicting the
Flamboyant windows were often composed of two arched windows, over which was a pointed, oval design divided by curving lines called soufflets and mouchettes. Examples are found in the Church of Saint-Pierre, Caen.[61] Mouchettes and soufflets were also applied in openwork form to gables, as seen on the west façade of Trinity Abbey, Vendôme.
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West rose window of Saint Chapelle (1485–1498)
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Flamboyant window tracery, Limoges Cathedral (late 15th century)
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Openwork gable and balustrade, west porch, church of Saint-Maclou, Rouen (1435–1521)
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Mouchettes in the south façade windows of the Church of Saint-Pierre, Caen
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A soufflet from a window on the south façade of the Church of Saint-Pierre, Caen
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West façade of Trinity Abbey, Vendôme
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Flamboyant rose window and façade, south transept Sens Cathedral (late 15th–early 16th century)
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North rose window, Beauvais Cathedral (1540–1548)
Façades and porches
The term "Flamboyant" typically refers to church façades and to some secular buildings such as the
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.[25] The addition of sumptuous Flamboyant façades and porches provided new public faces to older monuments that survived the Hundred Years' War.[64] Façades and porches often used the arc en accolade, an arched doorway that was topped by short pinnacle with a fleuron or carved stone flower, often resembling 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. There were also two slender pinnacles, one on either side of the arch.[5]
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West porch, Notre-Dame d'Alençon
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West porch, La Trinité, Falaise
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West porch, church of Saint-Maclou, Rouen
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South transept façade, Beauvais Cathedral
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North transept façade, Sens Cathedral
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West façade, Troyes Cathedral
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Parlement de Normandie, Rouen, now the Palais de justice
Vaults, piers, and mouldings
Elision—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.[25] The uninterrupted fluidity and merging of disparate forms led to the emergence of decorative Gothic vaults in France.[25]
Another characteristic feature were vaults with additional types of ribs called the
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Vaults of the chapel of theHotel de Cluny(1485–1510)
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Nave of the church of Saint-Maclou, Rouen Note the absence of capitals and use of continuous mouldings throughout.
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Transept pier and vaults,Basilica of Saint-Nicolas-de-Port
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Chapelle du Saint-Esprit, Rue
Notable Flamboyant religious buildings in France
- Auch Cathedral(except the façade)
- Beauvais (Oise), transept façades of Beauvais Cathedral
- Oise), choir and chapels of the Church of Saint-Étienne de Beauvais
- Ain), Royal Monastery of Brou
- Caudebec-en-Caux (Seine-Maritime), Church of Notre-Dame
- Marne), Notre-Dame de l'Épine
- Eure), north transept of Évreux Cathedral
- Eure), Notre-Dame de Louviers(north and south façade)
- Nantes (Loire-Atlantique), Nantes Cathedral
- Church of Saint-Séverin
- Paris, Saint-Jacques Tower, bell tower of the former church of Saint-Jacques de la Boucherie
- Eure), Notre-Dame-des-Arts
- Rouen (Rouen Cathedral(in part)
- Rouen (Seine-Maritime), Church of Saint-Maclou
- Rouen (abbey-church of Saint-Ouen
- Somme), Chapel of Saint-Esprit
- Basilica of Saint-Nicolas
- Somme), Abbey
- Senlis (Oise), transepts of Senlis Cathedral
- Sens Cathedral(south transept)
- Thann (Haut-Rhin), St Theobald's Church
- Toul (Meurthe-et-Moselle), west façade of Toul Cathedral
- Tours Cathedral(west façade)
- Vendôme (Loir-et-Cher), west façade of the Abbaye de la Trinité
- Vincennes (Val-de-Marne), Sainte-Chapelle
Notable examples of civil architecture in France
- Beaune (Côte-d'Or), hospices
- Oise), former episcopal palace
- Cher), Palais Jacques Cœur
- Château de Châteaudun (Eure-et-Loir)
- Hôtel de Cluny
- Paris, Hôtel de Sens
- Rouen (Palais de Justice
Examples of the Flamboyant Gothic Style outside France
- St. Lorenz, Nuremberg (nave ceiling in particular), Germany
- Milan Cathedral, a relatively rare Italian building in the style, which is adopted very fully here
- Vladislav Hall in Prague Castle (vaults), Czech Republic
- Seville Cathedral, Spain
- Capella de Sant Jordi, Palau de la Generalitat de Catalunya, Barcelona, Spain
- Batalha Monastery, Portugal
- Brussels Town Hall, Belgium
- Church of St. Anne, Vilnius, Lithuania
- St. Barbara's Church, Kutná Hora, Czech Republic
Gallery
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Flamboyant window from the last survivingLusignan palace in Nicosia
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St Anne's, Vilnius, Lithuania (1500)
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St. Vulfran Collegiate Church, west façade, Abbeville
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Church of Saint-Étienne, interior, chevet, Beauvais
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Notre-Dame de l'Épine, west façade, L'Épine
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Évreux Cathedral, north transept façade, Évreux
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Notre-Dame-des-Arts, Pont-de-l'Arche
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Abbey-church of St. Ouen, nave elevation, Rouen
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Chapel of Saint-Esprit, Rue
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West façade of Tours Cathedral (towers completed 1547)
See also
- French Gothic architecture
- Gothic cathedrals and churches
- High Gothic
- International Gothic
- Rayonnant
Footnotes
- ^ The church was demolished in 1797 following the French Revolution. See Mérimée database
- ^ Content in this section is translated from the existing French Wikipedia article; see its history for attribution.
Citations
- ^ ISBN 978-0-19-967498-5, retrieved 28 June 2020
- ^ Dominique Vermand, site Églises de l'Oise, presentation of Beauvais Cathedral – with a didactic timetable of French architecture
- ^ L'Histoire, L'art gothique à la conquête de l'Europe
- ^ a b c Watkin 1986, p. 139.
- ^ a b c Renault & Lazé 2006, p. 37.
- ^ Wilson 1990, p. 252.
- ^ Ackerman 1949, p. 84–111.
- ^ a b c d 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. pp. 47–60.
{{cite book}}
: CS1 maint: location missing publisher (link) - ^ Kavaler 2012, p. 259–260.
- ^ Adamski 2019, p. 183–205.
- ^ "Flamboyant style | Gothic architecture". Encyclopedia Britannica. Retrieved 28 June 2020.
- ^ ISBN 978-0-19-866262-4, retrieved 9 April 2020
- ISBN 978-0-19-967498-5, retrieved 9 April 2020
- .
- ^ Hart 2012, p. 1-4.
- ^ Benton 2002, p. 151-152.
- ^ Benton 2002, p. 191.
- ^ OCLC 1112381140.
- ^ Wilson 1990, p. 248.
- ^ a b c Bork 2018, p. 96.
- ^ a b Wilson 1990, p. 249.
- )
- ^ a b Kavaler 2012, p. 115.
- ^ "Chapels 24 | Life of a Cathedral: Notre-Dame of Amiens". projects.mcah.columbia.edu. Retrieved 23 June 2020.
- ^ )(subscription required)
- ^ a b Watkin 1986, p. 142.
- ^ Emery 2015.
- ^ "Palais de justice". www.pop.culture.gouv.fr. Retrieved 23 June 2020.
- ^ Neagley 1998, p. 47-54.
- ^ Neagley 1988, p. 376.
- ^ Kavaler 2012, p. 7–8.
- ^ de Finance 2012, pp. 62–63.
- ^ Meunier 2014, p. 48-49.
- ^ Lours 2018, p. 412.
- ^ Mocellin 2019, p. 122.
- ^ a b Mocellin 2019, p. 70–78.
- ^ Monfalcon, Jean Baptiste (1866). Histoire monumentale de la ville de Lyon (in French). A la Bibliothèque de la Ville. pp. 383–384.
- OCLC 800990733.
- ^ Babelon 1989, p. 195-196.
- OCLC 489587981.
- ^ a b Bork 2018, p. 237–238.
- ^ Caron 2017, p. 75–76.
- ^ a b c d e Watkin 1986, p. 166.
- ^ a b Hughes 1993, p. 120.
- ^ Buades 2008, p. 97–148.
- ^ Watkin 1986, p. 174-75.
- ^ a b Watkin 1986, p. 174-175.
- ^ Brisac 1994, p. 110.
- ^ Watkin 1986, p. 176.
- ^ Watkin 1986, p. 177.
- ^ Watkin 1986, p. 162-3.
- ^ Ducher 2014, p. 54.
- ^ a b c d "Corpus of Scottish medieval parish churches: Brechin Cathedral". arts.st-andrews.ac.uk. St Andrews University. Retrieved 28 June 2020.
- ^ "Corpus of Scottish medieval parish churches: Roslin Collegiate Church". arts.st-andrews.ac.uk. St Andrews University. Retrieved 28 June 2020.
- ISBN 978-0-19-967498-5, retrieved 28 June 2020
- ^ Białostocki 1966, p. 94.
- ^ a b Ducher 2014, p. 52.
- ^ de Finance 2012, p. 62.
- ^ Clark, William. "Sens". Grove Art Online/Oxford Art Online. Oxford University Press. Retrieved 7 May 2015.
- ^ Harvey, John (1950). The Gothic World. Batsford.
- ^ Ducher 2014, p. 52-3.
- ^ Kavaler 2012, p. 116.
- ^ Neagley 2008, p. 44–50.
- ^ Kavaler 2012, p. 122.
- ^ Ducher 2014, p. 52-53.
References
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- 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. S2CID 213746569.
- Babelon, Jean Pierre (1989). Châteaux de France au siècle de la Renaissance. Paris: Flammarion/Picard. ISBN 208012062X.
- Bechmann, Roland (2017). Les Racines des Cathédrales (in French). Payot. ISBN 978-2-228-90651-7.
- Beltrami, Costanza (2016). Building a crossing tower: a design for Rouen Cathedral of 1516. London: Paul Holberton Publishing. ISBN 9781907372933.
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