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1372 – 1380), when he identified “a general tendency in Gothic art of The genesis of Gothic micro-architecture is acknowledged to lie in French, thirteenth-century church portal design; the most influential being Jean de Chelles’ north transept portal at Notre-Dame de Paris.In England, Michael of Canterbury (active 1275-1321) was the first mason to conceive of a monumental architectural style composed of micro-architectural elements.She precisely placed it between the construction of Broxbourne parish church (1476-1481), from which derived the chapel’s respond section and its arch and base moldings, and the design of St. 1482/3, wherein Stowell reused the spandrel motif of cusped and recusped quatrefoils and daggers.[18] More recently, John Goodall and Linda Monckton established a stylistic and patronal context for Duke Humphrey’s “chantry” also at St. Shared motifs linked it to the reredos at Westminster Abbey, the documented work of John Thirsk, to whom has also been attributed Henry V’s double-decker chantry chapel.Its Westminster associations, in part, explained its unusual two-story form, rich sculptural decoration, and privileged setting beside a saint’s shrine.[19] A prestigious monument in its own right, it influenced the design of another St.In particular, he was struck by the transference of monumental Gothic’s iconographical meaning as a manifestation of the Heavenly Jerusalem to liturgical objects that contained the ineffable and holy, such as monstrances and shrines.Christopher Wilson established a looser context for the phenomenon in his influential article on Durham Cathedral’s high altar reredos (c.

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However, I have come to believe that they signified much more than that.

Albans to Robert Stowell solely on the grounds of a forensic analysis of its features.

She located the undated and largely undocumented chapel within the span of his .

Many scholars sought to find a source in the stone-cage’s fusion of funerary and chapel functions, although I note that most have favored the former over the latter.[7] Paul Binski expressly warned against “regard[ing] what appears to be a synthesis of developments in Mass arrangements and tomb design…as the product of an inevitable linear development.” And the visual variety of stone-cages suggests a greater range of sources than just funerary monuments and altar architecture.

The phenomenon of micro-architectural detailing in late Gothic art, especially in the minor and decorative arts, broadens the field from which masons may have derived inspiration.