Woodcarving of the Gothic period (12th-15th centuries).

Towards the end of this epoch, woodcarving reached its culminating point. The choir stalls, rood-screens, roofs, retables, of England, France and the Teutonic countries of Europe, have in execution, balance and proportion, never at any time been approached. In small designs, in detail, in minuteness, in mechanical accuracy, the carver of this time has had his rivals, but for greatness of architectural conception, for a just appreciation of decorative treatment, the designer of the 15th century stands alone.

It should always be borne in mind that color was the keynote of this scheme. The custom was practically universal, and enough traces remain to show how splendid was the effect of these old Gothic churches and cathedrals. The priests in their gorgeous vestments, the lights, the crucifix, the banners and incense, the frescoed or diapered walls, and that crowning glory of Gothic art, the stained glass, were all in harmony with these beautiful schemes of colored carved work. Red, blue, green, white and gilding were the tints as a rule used. Not only were the screens painted in colors, but the parts painted white were often further decorated with delicate lines and sprigs of foliage in conventional pattern. The plain surfaces of the panels were also adorned with saints, often on a background of delicate gesso diaper, colored or gilded (Southwold). Nothing could exceed the beauty of the triptychs or retables of Germany, Flanders or France; carved with scenes from the New Testament in high relief arranged under a delicate lacework of canopies and clustered pinnacles glistening with gold and brilliant colors. In Germany the effect was further enhanced by emphasizing parts of the gilding by means of a transparent varnish tinted with red or green, thus giving a special tone to the metallic luster.

The style of design used during this great period owes much of its interest to the now obsolete custom of directly employing the craftsman and his men, instead of the present-day habit of giving the work to a contractor. It is easy to trace how those bands of carvers traveled about from church to church. In one district the designer would employ a particular form and arrangement of vine leaf, while in another adjoining quite a different style repeatedly appears. The general scheme was of course planned by one mastermind, but the carrying out of each section, each part, each detail, was left to the individual workman. Hence that variety of treatment, that endless diversity, which gives a charm and interest to Gothic art, unknown in more symmetrical epochs. The Gothic craftsman appreciated the cardinal fact that in design beautiful detail does not necessarily insure a beautiful composition, and subordinated the individual part to the general effect. He also often carved in situ, a practice seldom if ever followed in the present day. Here and there one comes across the work of long years ago still unfinished. A half-completed bench-end, a fragment of screen left plain, clearly show that sometimes at least the church was the workshop.

Gothic and Renaissance: A comparison

Gothic design roughly divides itself into two classes:

1. the geometrical, i.e. tracery and diaper patterns, and

2. the foliage designs, where the mechanical scroll of the Renaissance is as a rule absent.

The lines of foliage treatment, so common in the bands of the 15th-century roodscreens and the panel work especially of Germany, serve to illustrate the widely different motives of the craftsmen of these two great epochs. Again, while the Renaissance designer as a rule made the two sides of the panel alike, the Gothic carver seldom repeated a single detail. While his main lines and grouping corresponded, his detail differed. Of numberless examples a 15th-century chest (Plate III. fig. 6) in the Kunstgewerbe Museum, Berlin, may be referred to. The arrangements of foliage, etc., on top, back and front, are typical of Gothic at its best.

Exercise 2. Choose the right word.

1. Towards the end of this epoch wood-carving reached its culminating …

a) point

b) joint

c) time

2. In small designs, in detail, in minuteness, in mechanical accuracy, the carver of this time has had his rivals, but for greatness of architectural conception, for a just appreciation of decorative treatment, the designer of the 15th century stands …

a) alone

b) beside

c) together

3. It should always be borne in mind that color was the keynote of this …

a) scheme

b) plan

c) picture

4. Not only were the screens painted in colors, but the parts painted white were often further decorated with delicate lines and sprigs of foliage in conventional…

a) pattern

b) example

c) carving

5. Nothing could exceed the beauty of the triptychs or retables of Germany, Flanders or France; carved with scenes from the New Testament in high relief arranged under a delicate lacework of canopies and clustered pinnacles glistening with gold and brilliant…

a) colors

b) decorations

c) culminations

6. The style of design used during this great period owes much of its interest to the now obsolete custom of directly employing the craftsman and his men, instead of the present-day habit of giving the work to a…

a) contractor

b) worker

c) designer

7. Hence that variety of treatment, that endless diversity, which gives a charm and interest to Gothic art, unknown in more symmetrical…

a) epochs

b) periods

c) years

Exercise 3. Divide the text into three parts and retell it.

GRAMMAR COMMENT

GLOSSARY

Home assignment

To translate the text “Woodcarving of the Gothic period (12th-15th centuries)”.

SIW

Review of my favourite book. (Prepare a brief summary of the novel).

Office hours

Writing informal and formal letters.

References

Main literature

6. Полякова Е.Ю. Английский для инженеров. - М: ВШ, 2008.

Не нашли, что искали? Воспользуйтесь поиском: