Journal articles: 'Gothic sculpture in Lombardy'

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Holladay, Joan A. "Encounter: Gothic Sculpture in America." Gesta 53, no. 2 (September 2014): 121–24. http://dx.doi.org/10.1086/677322.

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Kahn, Deborah. "Gothic Sculpture, 1140-1300.Paul Williamson." Speculum 75, no. 1 (January 2000): 260–61. http://dx.doi.org/10.2307/2887489.

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Long, Jane C., and Anita Fiderer Moskowitz. "Italian Gothic Sculpture, c. 1250-1400." Sixteenth Century Journal 32, no. 3 (2001): 807. http://dx.doi.org/10.2307/2671531.

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Horner, Avril, and Sue Zlosnik. "Agriculture, Body Sculpture, Gothic Culture: Gothic Parody in Gibbons, Atwood and Weldon." Gothic Studies 4, no. 2 (November 2002): 167–77. http://dx.doi.org/10.7227/gs.4.2.7.

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Pinkus, Assaf. "Imaginative Responses to Gothic Sculpture: the Bamberg Rider." Viator 45, no. 1 (January 2014): 331–60. http://dx.doi.org/10.1484/j.viator.1.103794.

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Lutz, Gerhard. "Recent Research on Late Gothic Sculpture in Germany." Speculum 80, no. 2 (April 2005): 494–502. http://dx.doi.org/10.1017/s0038713400000075.

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Zorach, Rebecca, and William H. Forsyth. "The Pieta in French Late Gothic Sculpture: Regional Variations." Sixteenth Century Journal 27, no. 3 (1996): 879. http://dx.doi.org/10.2307/2544076.

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Catterson, Lynn. "Book Review: Italian Gothic Sculpture, c.1250-c.1400." Forum Italicum: A Journal of Italian Studies 36, no. 1 (March 2002): 212–13. http://dx.doi.org/10.1177/001458580203600115.

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Freni, Giovanni. "Italian Gothic Sculpture, c. 1250-c. 1400. Anita Fiderer Moskowitz." Speculum 78, no. 2 (April 2003): 576–78. http://dx.doi.org/10.1017/s0038713400169337.

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Gillerman, Dorothy. "The Pietà in French Late Gothic Sculpture: Regional Variations.William H. Forsyth." Speculum 72, no. 1 (January 1997): 147–49. http://dx.doi.org/10.2307/2865894.

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Čechák, Tomáš, Tomáš Trojek, Radka Šefců, Štěpánka Chlumská, Anna Třeštíková, Marek Kotrlý, and Ivana Turková. "The use of powdered bismuth in Late Gothic painting and sculpture polychromy." Journal of Cultural Heritage 16, no. 5 (September 2015): 747–52. http://dx.doi.org/10.1016/j.culher.2014.12.004.

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Herráez Ortega, María Victoria. "La catedral gótica de León. El inicio de la construcción a la luz de nuevos datos y reflexiones sobre la escultura monumental." Estudios humanísticos. Geografía, historia y arte, no. 22 (February 11, 2021): 183. http://dx.doi.org/10.18002/ehgha.v0i22.6833.

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<span>The monumental sculpture of León's Cathedral has been traditionally dated in accordance with the cronology attributed to the building. The documents which have been recently dealt with from the Cathedral's archive have elicited a new dating, bringing forward the time of the the sculptors' work. This fact allows us to state the beginning of the Gothic construction in the first half of the 13'h century, probably before the death of bishop Martín Rodríguez (d. 1242).</span>

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Nyborg, Ebbe. "The beginnings of Gothic ivory sculpture: recent discoveries in a group of Danish ivories." Sculpture Journal 23, no. 1 (January 2014): 31–39. http://dx.doi.org/10.3828/sj.2014.4.

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Rodwell, Warwick, Jane Hawkes, Emily Howe, and Rosemary Cramp. "The Lichfield Angel: A Spectacular Anglo-Saxon Painted Sculpture." Antiquaries Journal 88 (September 2008): 48–108. http://dx.doi.org/10.1017/s0003581500001359.

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Excavation within the Gothic nave of Lichfield Cathedral in 2003 revealed three phases of masonry building ante-dating the Norman period. These are likely to relate to the church of St Peter, which Bede described in 731 as housing the timber shrine to St Chad, fifth bishop of Mercia (d 672). A rectangular, timber-lined pit found on the central axis of the building might represent a crypt or burial chamber beneath the shrine. Buried in a small pit alongside this were three fragments of a bas-relief panel of Ancaster limestone, carved with the figure of an angel. They comprise half of the left-hand end of a hollow, box-like structure that had a low-coped lid. This is interpreted as a shrine chest associated with the cult of St Chad. The sculpture, which was broken and buried in, or before, the tenth century, is in remarkably fresh condition, allowing for an in-depth analysis of its original painted embellishment and for an assessment of the monument in terms of its iconography and stylistic affinities, and thus the possible conditions of its production. It is argued that the surviving portion of the panel represents the archangel Gabriel, and that it is one half of an Annunciation scene.

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Teijeira Pablos, María Dolores. "Acerca de la confusión de personalidades artísticas. El caso de Maestre Copín." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 303. http://dx.doi.org/10.18002/ehgha.v0i19.6767.

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<span>Several artists working with the same name in Castilian late Gothic sculpture have been traditionally identified as Diego Copín de Holanda. The article tries to separate each one basing on the documents that have been conserved. There are three artist in this case: Master Copín de Ver, working in León cathedral between 1474 and 1504. Master Francisco Copín, working in Burgos between 1482 and 1493 and Master Copín de Holanda, working in Toledo between b. 1500 and a. 1517. The documents about the León artist, now published, contribute to clarify this problem.</span>

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Wolff, Martha. "Gothic Sculpture. Paul Binski. New Haven, CT: Yale University Press, 2019. viii + 287 pp. $55." Renaissance Quarterly 74, no. 2 (2021): 589–91. http://dx.doi.org/10.1017/rqx.2021.18.

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Reeve, Matthew M. "The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture." Journal of the British Archaeological Association 163, no. 1 (September 2010): 72–109. http://dx.doi.org/10.1179/174767010x12747977921047.

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John Steyaert. "Imported Images: Netherlandish Late Gothic Sculpture in England c. 1400–c. 1550 (review)." Catholic Historical Review 95, no. 4 (2009): 831–33. http://dx.doi.org/10.1353/cat.0.0574.

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Paju, Risto. "Ein Fund in der Museumssammlung. Ein Heiliger Jakobus aus Kalkstein in der Sammlung behauener Steine des Tallinner (Revaler) Stadtmuseums." Baltic Journal of Art History 12 (December 8, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.12.07.

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The Collection of Ashlars at the Tallinn City Museum includes a sculpture that stands 52.5 cm tall and is hewn from Lasnamägi limestone (Abb. 1). It depicts a slender man in a long robe, with a staff and travel bag around his neck. The statue has been seriously damaged. In addition to the broken front, its head is also missing – all that has survived is part of its beard. The goal of the article is to more closely examine the sculpture, which has not received any attention to date, in order to determine who it depicts, where it could be been located, and examine the surviving traces of paint. The primary motivation for writing the article is the fact that very few medieval three-dimensional stone sculptures have survived in Estonia. Also, this figure has not been dealt with or even mentioned in earlier writings. It can be said that, regardless of the damage it has suffered, the sculpture is complete enough to determine who is depicted. As stated above, the man has a walking stick or staff in his right hand and, based on the surviving fragments, a book in his right hand. On the partially surviving bag, we see the image of a scallop (Abb. 2). The staff and scallop tell us that this is a figure of St James. The sculpture is gothic in style, and based thereon, it can be dated back to the 15th or early 16th century. The sculptural material – Lasnamägi limestone – arouses attention. Where was this sculpture to be placed? We cannot dismiss the fact that the figure of the saint comes from a sacral building, but there could also have been saints in residential buildings, for example, on exterior facades or somewhere indoors. In summary, one must admit that the original location of the sculpture can only be speculated upon and definite answers are not possible. However, what is certain is that this is the work of a skilled master. Regardless of the fact that Lasnamägi limestone is not the best sculptural material, the work is finely hewn and well-proportioned. The sculpture is now on display in the new Estonian National Museum building.

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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.

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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.

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Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15." Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.

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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.

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Spitzer, Laura. "The Cult of the Virgin and Gothic Sculpture: Evaluating Opposition in the Chartres West Facade Capital Frieze." Gesta 33, no. 2 (January 1994): 132–50. http://dx.doi.org/10.2307/767164.

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Dent, P., and E. Napione. "Reading and Writing at the V&A: an episode in the collection of Italian Gothic sculpture." Journal of the History of Collections 24, no. 2 (May 9, 2011): 243–56. http://dx.doi.org/10.1093/jhc/fhr012.

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Thurlby, Malcolm. "The Lady Chapel of Glastonbury Abbey." Antiquaries Journal 75 (September 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.

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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).

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Jakutowicz, Joanna. "Der gotische Muttergottes‑Altar von Guttstadt (1426)." Studia z Dziejów Średniowiecza, no. 25 (September 16, 2022): 144–69. http://dx.doi.org/10.26881/sds.2022.25.07.

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This article offers a stylistic analysis of the Marian altar from the church of the Redeemer and All Saints in Dobre Miasto in the voivodship of Warmia and Masuria. The altar was set up in 1426 as an altar for morning mass. It remains incomplete to this day: several Gothic figures were replaced by later pieces of sculpture, and the altar was provenance is also questionable of the centrally located sculpture of Mary and Child. The literature up to now has pointed out stylistic analogies with the altar in Pörschken (Nowo‑Moskowskoje), at present in the collection of the Castle Museum in Malbork, and with the altar from Sokolica (Falkenau), which is at present in the collection Museum of the Archdiocese of Warmia in Olsztyn. Stylistic analysis makes it possible to establish that the closest analogy to the Dobre Miasto altar is the altar from Pörschken, while the somewhat later retable from Sokolica has many features in common with the altar from Rauma (Finland), which was a Prussian export. It is, however, an open question as to the location of the Prussian provincial woodcarving workshop that probably produced the altars in Dobre Miasto and Pörschken, drawing on the at that time rather old‑fashioned tradition of figures of the Madonna on lions. The literaturę suggests Malbork or Gdańsk, but because of stylistic similarities to the Elbląg Apostolic College and the links of the Elbląg Rector Mikołaj Wulsack with Dobre Miasto, Elbląg, too, must be considered.

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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.

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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.

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Lubas-Bartoszyńska, Regina. "Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka." Przestrzenie Teorii, no. 31 (December 6, 2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.

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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.

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Shires, Linda M. "HARDY'S MEMORIAL ART: IMAGE AND TEXT IN WESSEX POEMS." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 743–64. http://dx.doi.org/10.1017/s106015031300020x.

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Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy, with 30 Illustrations by the Author. Although a reading experience dependent upon the original aesthetic interplay that Hardy had designed was destroyed in most subsequent printings, the first edition's partnership of image and text remains absolutely central to the book's multiple meanings. Indeed, Hardy's images and words should be regarded as inseparable, since they interact in what W. J. T. Mitchell has called a “composite art form” (83, 89).

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Seguí, Montiel. "Virgin Mary as the “Gate of Heaven” with Angelic Musicians in the Doorway of the Apostles at the Cathedral of Valencia." Religions 13, no. 11 (November 14, 2022): 1098. http://dx.doi.org/10.3390/rel13111098.

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The Door of the Apostles at the Cathedral of Valencia stands as a treasure of sacred Gothic architecture and sculpture. A modification to its original structure in 1599 removed the mullion and the stone image of the Virgin that is to be found today in the tympanum. However, regardless of her location, Mary Mater Dei presided over everything that was happening in the doorway. She guided those who crossed the temple’s threshold, placed as she was on the mullion so as to appear as a Porta Coeli. In addition, she was the conductor of the characters on the door such as apostles, prophets, patriarchs, virgins and angelic sonadors (sound-makers). The latter appeared playing various instruments from both profane and sacred medieval traditions. Their location in the tympanum, playing a role in the meaning of the message, showed the importance of music as a vehicle for conveying the revelation of the Incarnation of Christ.

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Nickson, Tom. "The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400 (by Jacqueline E. Jung)." Mediaeval Journal 4, no. 1 (January 2014): 139–41. http://dx.doi.org/10.1484/j.tmj.1.103947.

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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.

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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "

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Čufar, Katarina, Angela Balzano, Luka Krže, and Maks Merela. "Wood identification using non-destructive confocal laser scanning microscopy." Les/Wood 68, no. 2 (December 30, 2019): 19–29. http://dx.doi.org/10.26614/les-wood.2019.v68n02a02.

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Exact wood identification is usually based on observation of wood features under the microscope. For this, we have to take a sample of the wood from the object and cut thin slides, possibly of all three anatomical sections. Such destructive sampling is often not possible on valuable historical objects, and therefore there is a need for non-destructive approaches. The objective of the study is to present the potential of Confocal Laser Scanning Microscopy (CLSM) using an Olympus LEXT OLS5000 for the identification of wood. We present work on an example of a gothic sculpture, “St. George Defeating the Dragon”. Conventional sampling and microscopical wood identification showed that St. George is made of Norway spruce (Picea abies), and the dragon of poplar (Populus sp.) or willow (Salix sp.). We present crucial features needed for the identification of these species and the limitations with identification if the samples are too small. Finally, we demonstrate the possibility of wood identification of the abovementioned species using CLSM on wood samples without special preparation of the surfaces. CLSM enabled us to observe all the features needed for wood identification.

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Janson-La Palme, Robert J. H. "Anita Fiderer Moskowitz. Italian Gothic Sculpture: c. 1250-c. 1400 Cambridge: Cambridge University Press, 2001. xxvi + 401 pp. $95. ISBN: 0-521-44483-7." Renaissance Quarterly 55, no. 2 (2002): 690–92. http://dx.doi.org/10.2307/1262325.

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Kastner, Birgit, and Joseph Spooner. "Should the sculpture of Synagoga at Bamberg Cathedral be removed? Considerations and approaches to the problem of anti-Jewish images in a Christian church." Sculpture Journal: Volume 31, Issue 3 31, no. 3 (September 1, 2022): 289–317. http://dx.doi.org/10.3828/sj.2022.31.3.02.

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Since the early thirteenth century the outstanding Gothic sculptures of Synagoga and Ecclesia at Bamberg Cathedral - personifications of Judaism and the Church - have been part of an iconographic programme of the history of salvation. After the original statues at the Princes’ portal were relocated to the interior for conservation reasons, copies now fill the gaps in the portal’s pictorial programme. This ‘doubling’ of the motif and of its message recently led to demands for the removal of Synagoga. The archbishop, cathedral chapter and monument conservators are striving to retain both groups of figures in situ in order to preserve their history and context at the cathedral while confronting their controversial message. The aim of this article is to situate the sculptures of Ecclesia and Synagoga in the context of the many, often conflicting positions that have arisen during the current debate and to discuss these points of view in the context of present-day tendencies towards iconoclasm. Thus it considers the applicability of the term antisemitic to medieval sculptures and examines the iconographic development of the Ecclesia-Synagoga group for its anti-Jewish or antisemitic content. It also considers the partial or complete loss of the medieval horizon of meaning in today’s secular society, which leads to a loss of acceptance of the monument. The article concludes with a ten-point plan which aims to reconstruct the legibility of the figures and to raise awareness of the meaning and value of the sculptures without perpetuating outdated patterns of thinking.

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Tourneur, Francis. "Global Heritage Stone: Belgian black ‘marbles’." Geological Society, London, Special Publications 486, no. 1 (October 15, 2018): 129–47. http://dx.doi.org/10.1144/sp486.5.

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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.

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Sušanj Protić, Tea. "Renesansna kuća Moise u Cresu - rezultati konzervatorskih istraživanja 2011. godne." Ars Adriatica, no. 4 (January 1, 2014): 283. http://dx.doi.org/10.15291/ars.501.

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The Renaissance residential architecture in the town of Cres is represented by a small number of preserved houses (palazzetti) of the local nobility which are attributed to the established stone-cutting workshop grouped around master Francesco Marangonich, a Lombard stone-cutter who arrived at Cres from the building sites of Venice and introduced Renaissance stylistic elements on the Quarnero islands. The best-known Renaissance residential building at Cres is the Marcello-Petris house which was built in the 1510s for the Minister Provincial and Bishop, Friar Antun Marcello-Petris. The Renaissance houses of the Cres nobility are characterized by their relatively large size, ashlar masonry, and the strict rhythm of the decorated openings on the representative facades. One of such buildings is the Moise house, situated in the medieval centre of the town, at a prominent site where the two main streets of the time crossed. Documents from the archive of the Franciscan monastery at Cres witness that in 1441, “Ser Andrea Moisenich” exchanged a garden for the house of “Nobilis Ser Stefano de Petris”, who had the Petris palace built before 1405, meaning that the present-day Moise house might be identified with the old Petris palace. It features the coats of arms of these two families from the same period, and, therefore, it could have functioned as a shared residence of both families, which was frequently the case in Venice, for example, when it came to large palaces with two residential floors and two courtyards, which are both elements of the Moise house. The Moise house is the largest residential building of Renaissance Cres and, through its size, it can be compared to prominent examples of large palaces in Dalmatian towns. It has not been the subject of scholarly and expert research because of its many alterations, the relatively poor preservation of its original features, and the loss of its representative appearance, all of which means that its basic characteristics remained unknown. Conservation works revealed the layout of its ground plan and established that it was conceived as an emulation of the Venetian model, with a central hall and four lateral chambers. These features set the Moise house apart from other Renaissance residential buildings at Cres as the only one which adopted and displayed the high Renaissance symmetry of ground plan, which is also reflected on the representative facade. Analysis of the plaster samples taken from the walls has resulted in their stratigraphy, which confirms the hypothesis that all the walls of the central salone were painted a secco in the seventeenth century.The conservation works carried out on the representative facade unveiled the position of the Renaissance windows, which indicates that the articulating rhythm was two single-light windows – a double-light window – two single-light windows, which was corroborated by the discovery of the dressed inner window splays. Such an arrangement was common practice in Venetian Gothic residential architecture but, in the territory of present-day Croatia, it gained prominence only in the Renaissance, and the Moise house is the only example of this at Cres. The second floor of the Moise house repeated the plan of the first, which implies that originally there would have been two sumptuous storeys. The vaulted rooms on the ground floor did not communicate with one another but formed separate units in a direct relationship with the street or courtyards and it is likely that they had a utilitarian function as shops or storage spaces, having no vertical communication inside the house with the residential floors, which were connected by means of a single flight staircase. The building had two representative courtyards; the west one gave way to subsequent additions but it was recorded in the Land Registry as early as 1821. On the ground floor, the courtyard had a porch with two arches above which was a gallery with a balustrade, traces of which were discovered through test-probes in the floor. In the small east courtyard, the remains of the Renaissance porch, supported by the excellently carved pillars have been preserved, while in the floor under the staircase vault, a circular, finely-dressed stone opening belonging to a well was found; its well head is today located on the ground floor of the house. The two representative courtyards are an exception in the densely-knit urban texture of Cres, which places the Moise house in a wider context of Renaissance residential architecture in the Adriatic. Its local variety would be the positioning of the well under the vault of the staircase, which is characteristic of the vernacular architecture in medieval Cres. In comparison to other similar buildings at Cres, the Moise house is unique in that it is the only Renaissance house of the nobility with a regular plan; other Renaissance houses are of a mostly irregular quadrangular plan, including the most representative example of the palazzetto of the Cres nobility, the Marcello-Petris house. The Moise house is also the only building to have a symmetrical interior layout, which resonates with the symmetrical articulation of the representative facade, while in the case of the Marcello-Petris house, the consistent rhythm of the richly decorated windows in the south facade are a screen of sorts placed before the asymmetrically-arranged interior space.The construction of such a large building, at a dominant position in the medieval core can be explained by the role of the original commissioners, the Petris family, as the most prominent noble family at Cres, while the credit for the contemporary Renaissance organization of the interior – with the only extant example of a central representative hall in the Renaissance residential architecture at Cres – belongs to the builders, who had already demonstrated knowledge of contemporary Venetian models on the well-known portal of the collegiate church at Cres.The Moise house was marginalized in previous overviews of the Renaissance residential architecture because of the modest state of preservation of its Renaissance stone sculpture. The results of the conservation works, and the analysis of the spatial organization, ground plan, and location of this building, but also the analysis of historical records, should contribute to a clearer perception of the Moise house in the context of the fifteenth- and sixteenth-century residential architecture on the east Adriatic coast, and to a re-assessment of its diminished representative importance, the value which is hidden in the architectural structure, concept and context, within the frame of the urban texture of medieval Cres.

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Grobelna-Sochaj, Angelika. "Retable from Lubowo (Łubowo). An example of late gothic sculpture and the lay piety of the and of 15th and the beginning of 16th century in Western Pomerania." Studia Koszalińsko-Kołobrzeskie 29 (2022): 275–92. http://dx.doi.org/10.18276/skk.2022.29-15.

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Рындина, А. В. "Grieving Saviour in Rrussian carvings of the 18th–19th centuries: moving from traditions to new solutions." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 188–203. http://dx.doi.org/10.46748/arteuras.2022.02.019.

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В статье изложены результаты исследования, имевшего целью систематизировать обширный пласт русских художественных памятников на тему Страстей Господних, не вдаваясь в анализ стилистических нюансов резьбы, что представляется возможным лишь на следующем этапе их изучения. Среди них можно выявить три основных типа: сакрально-топографический (Христос в темнице), символико-литургический (Скорбящий Спаситель) и, наконец, вариант наиболее сложный для смыслового истолкования, который условно можно отнести к историческим (группа пермских скульптур, где Христос изображен в препоясанных одеждах). Православное искусство «неотделимо от богословия» (И. Мейендорф), поэтому европейский антропоцентризм и иллюзионизм не укоренились на почве русской храмовой скульптуры, несмотря на безусловный исходный импульс извне. Напитанная литургическим смыслом, изначальным для русского церковного искусства и не искорененным даже в Новое время (П. Муратов назвал это свойство «твердостью» русского искусства), скульптура дистанцировалась как от ренессансной имитации, так и от позднеготического и маньеристского мистицизма, но при этом не стала простым ответвлением фольклора, а вошла в церковное творчество Нового времени как «икона Страстей Христовых». В этом — причина глубокого вхождения образа Скорбящего Спасителя в русскую религиозность, народную поэзию и храмовое убранство XVIII–XIX веков вплоть до эпохи модерна. The article tries to systematize a great variety of Russian carved images of Christ’s Passion, without delving into detailed analysis of the stylistic characteristics and nuances of the carving, which study seems possible only at the next stage. Among the wooden statues, three main types can be identified: sacral and spatial (Christ in prison), symbolic and liturgical (Grieving Saviour) and, finally, the group most difficult for semantic interpretation, which can conditionally be attributed as historical (Perm sculptures, Christ is depicted in girded garment). Orthodox art is “inseparable from theology” (J. Meyendorff), thus European anthropocentrism and illusionism did not root into Russian ecclesiastical sculpture, despite an unconditional impulse from outside. Wooden sculpture is saturated with liturgical meaning, which always was primordial for Russian church art, and even not eradicated in modern times (P. Muratov considered Russian art to be “unrelenting”). It distanced itself both from Renaissance imitation and from late Gothic and Mannerist mysticism. At the same time, carving has not become just a part of folklore, a folk art, but became an “icon of Christ’s Passion” in the church artwork of the New Age. This is the reason for the deep introduction of the Grieving Saviour image into Russian devoutness, folk poetry and interior church decoration in the 18th–19th centuries up to the Art Nouveau times.

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Zula, Floyd M. "GOTHIC SCULPTURE IN AMERICA, VOLUME 1: THE NEW ENGLAND MUSEUMS. (Publications of the International Center of Medieval Art, 2) — (Garland Reference Library of the Humanities, vol. 725). Dorothy Gillerman." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 3 (October 1989): 152–53. http://dx.doi.org/10.1086/adx.8.3.27948101.

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Coldstream, Nicola. "Gothic to Renaissance: Essays on Sculpture in England. By Phillip Lindley. 240mm. Pp. xii + 212, 127 ills. Stamford: Paul Watkins, 1995. ISBN 1-871615-76-3. £19.95 p/b." Antiquaries Journal 77 (March 1997): 424–25. http://dx.doi.org/10.1017/s0003581500075466.

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Gorzelik, Jerzy. "Wiatr z Północy. Dyskursywne konstruowanie Heimat na przykładzie gmachu dawnej Królewskiej Szkoły Rzemiosł Budowlanych w Katowicach i jego wystroju." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 745–61. http://dx.doi.org/10.4467/20843860pk.21.051.14968.

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Wind from the North: The Discursive Construction of Heimat Exemplified by the Edifice of the Former Royal School of Building Crafts (Königliche Baugerwerkschule) in Katowice and its Decoration The paper examines the edifice of the former school of building crafts (Baugewerkschule) in Katowice, Upper Silesia, which opened in 1901, and its decoration. The works of architecture, painting and sculpture were interpreted as carriers of a discourse calculated to construct Heimat, located within the borders of the Prussian Silesian Province. The building’s forms, reminiscent of the brick Gothic of northern Germany, were characteristic of the milieu of the Technische Hochschule in Hannover, where the designers of the edifice were educated. The city’s coat of arms was depicted on the facade, the vaulted ceiling of the auditorium was decorated with dragon and gryphon motifs of Scandinavian origin, and its walls painted with images of St. Hedwig ‒ the patron saint of Silesia, viewed here as a deconfessionalized personification of the land ‒ the Prussian eagle, and four iconic monuments of historic Silesian architecture. Thus, references were made to various levels of identity ‒ local, regional, national, and the mythologised Germanic North. The narrative constructed in this way fits into the cultural nationalism of the educated German bourgeoisie (Bildungsbürgertum), which grows out of the Romantic tradition. At the same time, the emphasis on the opposition of the North and South can be seen as a strategy for overcoming the peripheral status of Silesia in a world organised by the West-East axis. The school’s building in Katowice exemplifies how the elites of the German Empire used visual means to construct modern imagined communities.

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Vežić, Pavuša. "Ikonografija romaničke katedrale u Dubrovniku." Ars Adriatica, no. 4 (January 1, 2014): 63. http://dx.doi.org/10.15291/ars.489.

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In order to deepen our contemporary knowledge about the Romanesque cathedral of Dubrovnik, it is of utmost importance to turn to the archaeological remains and the documented material evidence in order to establish its ground plan. On the basis of the ground plan and in combination with the way the Cathedral was depicted in the art works produced during the period from the fifteenth to the seventeenth century, while also taking into account the contemporary written sources, we can propose a reconstruction of the Romanesque Cathedral together with a number of architectural features which have not been preserved. The Cathedral was an aisled basilica with a semi-circular apse which protruded at its east end. The nave was separated from the two aisles by means of arcades consisting of six piers resting on rectangular bases. The piers carried the vaults and these, in turn, supported the galleries above the aisles and the roof of the basilica. Such an arrangement was recorded by Diversis and Casola in the fifteenth century. In all likelihood, the two buttresses on the façade and eight more on each lateral wall were added later. At the top, the buttresses were connected by semi-circular arches and an exterior gallery existed above them. This gallery was connected to the one at the back of the church, creating thus an ambulatory which enabled the circumambulation of the basilica. This feature was mentioned by Casola and can be seen, to a certain degree, on the triptych painted by Nikola Božidarević. Most depictions show the Cathedral as having a dome on a round drum. However, the dome on the triptych painted by Pietro di Giovanni features a polygonal drum. The fact that the bases of the two piers situated under the dome are narrower compared to others, as can be seen on the ground plan recorded by Stošić, may have had something to do with that. The depictions of the dome regularly show exterior ribs which is a feature that requires further critical deliberation. At the same time, the dome does appear frequently in the architecture of Italian Romanesque churches. This can be seen in the architectural heritage of Apulia, Tuscany and Lombardy alike. When it comes to Dalmatia, however, only the cathedrals in its southern part, that is, at Dubrovnik and Kotor, were provided with a dome which is a phenomenon that points to the longevity of Byzantine tradition in these towns. The proposal put forward by Stošić, that the building of the Romanesque cathedral started during the last three decades of the twelfth century, when the Archbishop of Dubrovnik was Andrew of Lucca in Tuscany, seems convincing. Stošić also drew attention to the fact that the buttresses were added onto the exterior face of each lateral wall in order to carry the weight of the gallery in the upper part of the basilica. This may indicate that the initial concept was altered and it could be linked to an archival record of 1199 which mentions that a certain Eustace was required to carry out building works on the Cathedral. This Eustace was the son of Bernardo, a foreman (protomagister) in Trani in Apulia. This means that the twelfth century was not the time when the building works began, as Peković suggested, but the time when the building continued after the introduction of a new design with exterior galleries. Such galleries are found in Italian churches (in Apulia, Tuscany and Lombardy alike) as well as in some Dalmatian ones, for example on the lateral wall of Zadar Cathedral and on the wall of the semi-circular apse of the basilica of St Chrysogonus in the same town. On the other hand, fact remains that the exterior galleries in Apulian churches were supported by a series of robust buttresses which carried high vaults (Bari, Bitonto, Trani). These buttresses are much more solid in comparison to the narrow ones which were added onto the walls of Dubrovnik Cathedral. Perhaps this can be understood as a consequence of the change of design for the new cathedral which saw the replacing of what one might call a Tuscan project of the second half of the twelfth century with the Apulian one from the turn of the thirteenth. The building works continued long after this, well into the mid-fourteenth century, and in the process the cathedral acquired a number of Gothic elements. Its overall architectural composition was also imbued with the Gothic spatial articulation such as the testudines opere gothico. This makes it clear that during the thirteenth and fourteenth century, Dubrovnik experienced intense connections with Apulia.

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Dutczak, Marta. "Wawelski czarny krucyfiks. Krzyż królowej Jadwigi, Leona Wyczółkowskiego i św. Jana Pawła II." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 81–95. http://dx.doi.org/10.18290/rh20684-6s.

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A unique Gothic crucifix has been worshiped in the Wawel Royal Cathedral throughout centuries. The sculpture created in Bohemia or Hungary around 1380 was brought by Jadwiga of Poland (13741399) from Hungary to Poland, most likely in 1384. At the feet of Christ Crucified the monarch prayed for the gift of wisdom to rule the kingdom. The crucifix was placed in an altar in the Wawel Royal Cathedral and it has inspired a great devotion to the Crucified. After premature death of Jadwiga in 1399 the altar became a place of veneration of the monarch, which ever since has been lasting unceasingly. Due to the fact that prayers of the faithful through intercession of the queen at the crucifix were blessed by wonders it acquired great significance and started being called ‘miraculous’. Cardinal Karol Wojtyła, carrying out the function of the Metropolitan of Kraków, evoked the memory of Jadwiga in a particular way, encouraged her veneration and intensifi d efforts towards her canonization. He regarded the Crucifix of Jadwiga as ‘a place of the powerful testimony’. As pope John Paul II he canonized the queen during the Eucharist celebrated in Błonia Park in Krakow on the 8th of June 1997. The crucifix became a symbol of Polish history, spiritual heritage and deep faith of the Polish nation, what has been proved by the strong presence of this motif in fi arts. In the time of partitions of Poland Leon Wyczółkowski (1852-1936), an outstanding Polish artist and a teacher depicted it many times using a range of artistic techniques. A lively interest in a pastel ‘Crucifi of Jadwiga of Poland’ by Wyczółkowski auctioned in Kraków in 2019, which price went from 35 000 PLN (starting price) to 54 000 PLN (hammer price) after emotional bidding reveals how profound is its signifi to the Polish nation nowadays.

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Dressler, Rachel. "Janet Snyder, Early Gothic Column-Figure Sculpture in France: Appearance, Materials, and Significance. Farnham, Surrey, UK: Ashgate, 2011. Pp. 306; 203 b&w and 20 color figs. $119.95. ISBN: 9781409400653." Speculum 88, no. 1 (January 2013): 340–41. http://dx.doi.org/10.1017/s0038713412004411.

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Marks, Richard. "Imported Images: Netherlandish late Gothic sculpture in England, c. 1400–c. 1550. By Kim W Woods. 260mm. Pp 586, 234 b&w, 7 col ills. Donington: Shaun Tyas, 2007. ISBN 9781900289832. £49.50 (hbk)." Antiquaries Journal 89 (September 2009): 454–56. http://dx.doi.org/10.1017/s0003581509990291.

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Lutz, Gerhard. "Paul Binski, Gothic Sculpture. New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2019. Pp. vii, 287; many color figures. $55. ISBN: 978-0-3002-4143-3." Speculum 96, no. 1 (January 1, 2021): 180–81. http://dx.doi.org/10.1086/712192.

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Gillerman, Dorothy. "Jacqueline E. Jung, The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400. Cambridge and New York: Cambridge University Press, 2013. $99. ISBN: 978-1-107-02295-9." Speculum 89, no. 4 (October 2014): 1166–68. http://dx.doi.org/10.1017/s0038713414002176.

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Ermolenko, Elena V. "Daylighting of the Newest Christian Churches." Light & Engineering, no. 04-2021 (August 2021): 107–15. http://dx.doi.org/10.33383/2021-037.

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Semantic and spatial changes in the options for using daylight compared to tradition are presented, based on the analysis of the architectural solutions applied in a number of modern Christian churches. According to popular belief, sunlight is used in most modern temples only as an architectural technique proving the skill of an architect, and as a means of interior decoration. The study showed that behind the abstract modern methods of illumination a temple, there is a deep connection with the earlier cultural tradition. Sunlight was one of the key means used for decorating interiors of Christian churches. The light pouring from windows of the dome drum or cutting through the twilight of the extended naves, highlighting an apse with the altar, or emphasizing the beauty of the sculpture, was the conductor of the Divine on earth. The quintessence of the presentation of “divine light” in architecture, which clearly shows the connection between God and man, are the Gothic monuments. From the end of the 19th – the beginning of the 20th century, temple architecture was rapidly changing. Renowned innovator architects of the 20th century offered their own vision of a modern temple. The extreme degree of individualization of the new objects of cult was based on a common principle: the rejection of the symbolic language traditional for Christianity. The architects were not tied to metaphors and images of biblical subjects. They boldly changed both the external appearance of a temple and the construction of its internal space, hence, its system of daylighting. Traditionally, sunlight was the semantic filling of the temple space. As a result of the present study, it has been shown that in the newest Christian churches, daylighting techniques, in their essence, replace the pictorial filling of the temple space with religious content. At the same time, the same techniques function as a modern interpretation for a number of traditional architectural methods used for lighting design of the temple space. By the examples of the works by Studio Zermani e Associati, Mark Cavagnero Associates, Vicens + Ramos, Königs architekten, modern interpretation versions for the themes of retablo, glowing cross, highlighting the altar space, and illumination of gilded surfaces are shown, and the upper and side illumination features of the newest temples are revealed.

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Moss, Rachel. "Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland." Architectural History 51 (2008): 63–86. http://dx.doi.org/10.1017/s0066622x00003026.

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Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.

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Sadler, Donna L. "Jacqueline E. Jung, Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture. New Haven: Yale University Press, 2020. Pp. xi, 327; color and black-and-white figures. $75. ISBN: 978-0-3002-1401-7." Speculum 97, no. 1 (January 1, 2022): 201–2. http://dx.doi.org/10.1086/717871.

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Journal articles on the topic 'Gothic sculpture in Lombardy'

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