AbstractOne of the great iconic scenes showing the activities of a construction site is the well-known miniature that depicts the building of Solomon’s Temple in a copy of Flavius Josephus’s Antiquités judaïques (Paris, Bibliothèque nationale de France, MS fr. 247). A close examination of the image reveals its exceptional accuracy: it precisely depicts the craftsmen’s work, architectural design, and technical prowess at the building site of the cathedral of Saint-Gatien in Tours. It also shows how such medieval building yards were important crossroads for the circulation and transmission of forms, expertise, and know-how, even between different fields of artistic production. Behind the remarkable assembly of technical, architectural, and formal observations of the cathedral of Saint-Gatien lies a much deeper network of meaning regarding the artist’s technical and architectural knowledge and the value that this so-called Master of the Munich Boccaccio assigned to Gothic forms.
Current issues are now on the Chicago Journals website. Read the latest issue.Gesta presents original research on developments in the study of art and life of the Middle Ages. The journal embraces all facets of artistic production from ca. 300 to ca. 1500 C.E., in Europe, the Mediterranean region, and the Slavic world. The journal has twice been awarded the annual Van Courtlandt Elliott Prize of the Medieval Academy of America for a “first article in medieval studies judged…to be of outstanding quality.”
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