5.09 Gothic Luxury Arts

We will begin our study of Gothic manuscript illumination with a folio from a moralized Bible, which traditionally paired Old and New Testament scenes with illustrations that explained the pairings' moral significance (hence, the name). Our selection (ca. early 13C) does not show Old and New Testaments scenes, as it is the introductory page.

However, the depiction of Christ as the architect of the world does combine the opening of Genesis in the Old Testament (cf. Genesis 1:1) with the opening of the Gospel of John in the New Testament (cf. John 1:1-3). Finally, it is interesting to note that the art of geometry, which was clearly evidenced in Gothic architecture, also appears here in manuscript illumination, as Christ uses a protractor to form a perfect circle, the world.

Christ as architect of the world (ca. early 13C) from the Web Gallery of Art

Our next selection also comes from a moralized Bible (ca. early 13C) - one which was commissioned by Blanche of Castile, mother of Louis IX (also known as Saint Louis). In this dedication page, we see Blanche and Louis enthroned in the upper panel, while, below, we see a monk and a scribe. Both scenes are framed by an architectural setting, which, again, is not surprising given that theirs was the age of the great cathedrals.

This work is also characteristic of the so-called Parisian court style, which is reflected in the figures' refined features, delicate hands and hair, and graceful proportions and gestures.

Dedication page from the Bible of Blanche of Castile (ca. early 13C) from the Web Gallery of Art

Psalter of Saint Louis

The proliferation of works of stained glass also had a profound influence on Gothic manuscript illumination (in fact, many of the stained glass artisans were involved in manuscript illumination as well). One work that clearly reflects the influence of stained glass art is the Psalter of Saint Louis (ca. mid 13C) - thought by some scholars to be the product of the same guild of artisans who created the stained glass in Saint Louis' Sainte-Chapelle.

Our folio, depicting Abraham and the three angels (a subject we have studied previously), certainly reveals the influence of the art of architecture. Note, especially, the architectural setting and the brilliant colors and bordering. Here, too, the Parisian courtly style is also clearly evident.

Abraham and the three Angels from the Psalter of Saint Louis (ca. mid 13C) from the Web Gallery of Art

Another work showing the Parisian courtly style is Master Honore's Breviary of Philippe le Bel. The book, consisting of a selection of prayers and psalms, was commissioned by Philip the Fair in the late thirteenth century. In our folio, we have two Old Testament scenes from I Samuel. In the upper panel, Saul anoints David as king of Israel in the presence of his brothers (again, a subject we have studied previously).

The lower panel, meanwhile, depicts the battle between David and the giant Goliath (cf. I Samuel 17) in a continuous narrative: to the left, David prepares his slingshot; in the center, Goliath is struck by the shot; and on the right, David aims to decapitate the fallen giant. Once again, we see an example of the Parisian courtly style, as we have delicate presentations of the figures' expressions, hair, hands and gestures. The figures are characteristically swaying in their stances as well.

Scenes from I Samuel from the Breviary of Philippe le Bel (ca. late 13C) from the Web Gallery of Art

• Christ as architect of the world (ca. early 13C)

• Parisian courtly style

Assignment 5.09 - Multiple Choice Practice

After you have reviewed your cumulative notes, complete the online assessment 5.09. Remember that your first submission should be done with a time constraint and without notes.