Art of the late Middle Ages by Hans Hellmut Hofstätter

By Hans Hellmut Hofstätter

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By Hans Hellmut Hofstätter

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The east wing, built in 1351-57. has the earliest fully developed example Trinity, of fan-tracery vaulting In the latter part of the thirteenth century, alabaster became a favorite material of English sculptors, and on tombs were made from that stone. Nottingham was the center for alabaster sculp rs, and its alabaster wall-reUefs and carved altars with small alabaster figures were exported all over the C' istian world, especially to northern Germany, western France, and Spain. One of the finest even life-si /cd recumbent effigies an iconographical innovation of the twelfth century, is combined with the Passion of Christ: God the Father, enthroned, broods over the in which the Trir, Cross on which haiigs the body of the Son, while above Christ's head soars the dove of the Holy Ghost.

Auxerre Cathedral The representation of the Last Judgment in the tympanum above the central door of the west portal of a cathedral stems from a long tradition with a twofold root, secular and ecclesiastical. For one thing, to enter a church through such a portal already means that the individual has chosen between good and evil. But, also, the where west end of a church, either in a projecting porch or directly civil transgressions were judged, and the image of the God in front of the portals, was the place of Judgment lent a symbolic legitimacy it no longer sufficed to portray the Judgment the righteous almighty God surrounded, on Day, by and by the symbohc animals of the Logos.

In isolation arist. The among the agitated Apostles, action focuses on the through him. His bald head awesome event to covered by a prayer shawl, and his gaze is intent with a presentiment of the come. His right hand grasps tensely the Christ) while his left of the table, to is hand tugs whom fish in the bowl (the early Christian symbol for draw it away from the betrayer at the opposite end the hand of Christ, draw one's eye.

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