Imagery of Ascention of Mary Magdalene

On this picture, originally from Gdansk today in National Museum in Warsaw National Museum, Warsaw we see ascension of Mary Magdalene. It is one type of many way of representing Mary Magdalene in art, here she is shown as a  saint who meditated so much that she was feed divine food by God himself, according to Medieval accounts. Latin church tradition says  happened seven times daily, angels took her before the throne of god where she was given nourishment.

Assention of Mary Magdalene, tempera on panel, 1430, 71x48in (182.5x122cm)

Very similar in form on canonical depictions of ascension of Virgin Mary. I was writing before that Mary Magdalene was the second most depicted woman in Catholic art, after Mary mother of Jesus. It comes at no surprise that the glorification images, painting or sculptures are often similar. Here we have Mary Magdalene crowned by Gods himself, held in sky by angels.  We know that this is Mary Magdalene because of hairy costume. But Mary Magdalene dressed in more ornate robes is represented also, see my other entries fro examples.

Another depiction of Mary Magdalene's ascension, also form my country, Poland, this time from St John's church in  Torun. I love the charm and joy of this one. And I am so glad that wiki commons has nice pictures, it is often a chore to take a good picture without flash. I never use flash while taking photos of art. As an artist I know that this is bad for the pigments.

Anonmymous artist, Ascension of Mary Magdalene, XIV c.
in Church of Saint John the Baptist and St. Evangelist

This graceful Mary Magdalene is shown as a hermit, but there is nothing austere in the scene. All is charming and lush, full of beatitude. About the austerities reminds her body covered with flowing hair, which is very beautiful, the rocks of the cave and flat belly. Those days a good muffin on the belly was a sign of female beauty, flat belly was indicating that someone hadn't enough to eat. What is beautiful today for us, for people living in times when Gothic art was created such flat belly wasn't beautiful, but it was signifying that the depicted saint wasn't eating much. Some fashion of medieval times is kind of strange for us today, and I think is worth a separate entry.

Illustration from Nurnberg Chronicle, 1491

Here we have a woodcut from Nurnber Chronicle ( via wikicommons, Schedel). Colorful wings of angels, very long robes with lots of draperies which formed angular folds, and round, protruding belly of the female figure was very typical for the art of the days, specially North of Alps.
Here, according to the artist,  we can say the divine nourishment was as filling as earthly food.

Here a few examples of Ascension of Mary Magdalene to browse

This Mary Magdalene sculpted in stone can be seen in Chanteuges Abbey. Wikipedia articles about this wonderful place are in German and French, so I don't include them here.
But those figures of Mary Magdalene and angles can be found in France, and not only there in various churches or abbeys.
They have their won charm and are of rugged beauty.
Photo by Jochen Jahnke.

Beuatiful Madonnas style in International Gothic and topoi of courtly love

Today i want to show some Madonnas in style which was a branch of International Gothic. Those depictions of Virgin Mary are called in Beautiful Madonnas. This iconographic type emerged in Bohemia (Czech Republic today), and spread to neighbouring states: Holy Roman Empire including Silesia, Poland, Teutonic Knights Crusader State, Burgundy, Austria and France. Not surprising that in the Teutonic Knights' state,   the domain of militant order with their strong devotion to Virgin Mary this style spread rapidly.

Madonna of Kruzlowa, by Ludwig Schneider/Wikimedia

Beautiful Madonnas were mostly stone sculptures, but sometimes were made wood, sometimes of terracotta fully three dimensional, no reliefs sculptures.

This type was a re-edition of images of Madonna with child, which started already in Byzantium, but this time Madonna was depicted as a very young woman, with delicate hands and small head, beautiful and lyrical. There is a lot of charm in Beautiful Madonnas, it is very sublime style with gentle gestures, cascades of fabrics, emotions showed realistically also the was strong attention to detail as the artists wanted to depict her very realistically, in a less stylized manner. It is all very refined in comparison to the previous styles of representation of her.

Characteristic pose of Madonnas is so called S pose, where the person stands slightly slouching, belly forward, the spine is bend, not straight. This was also a common pose in International Gothic, or High Gothic in general. It was considered very elegant those days.

The example on the left Madonna from Kruzlowa is obviously very young, she looks like an ideal lady of the court culture of her times. About an ideal of beauty in Gothic another time, in a separate entry. Yes, the baby looking as if he was going bald was one of the beauty ideals, also women had very high foreheads, which gave them balding looks. It was a fashion once.

Here the Madonna of Kruzlowa and her child are represented as New Adam and New Eve. This maybe confusing for today's audiences, but there was a lot of theological disputes in the Middle Ages about Mary's role in  redemption of humanity. Medieval allegories and symbols can be strange, but they also can be explained in a simple manner, I hope I can do it without making things complicated: Virgin Mary and her son are the new humanity, both were new people born without original sin. Adam and Eve were the people of old times, before the redemptive powers of the Messiah appeared in human form. Both Virgin and child are human, but also are divine, closer to perfection as born without original sin.  In Catholic doctrine Mary is the co-Savior, and Jesus is Savior of the world. Both take part in salvation of fallen  humanity. Here we see the apple in baby Jesus hand, it has double nature: it is an apple from Eden, but also an apple as globe, part of royal regalia, showing him as the ruler of humanity.

Beautiful Madonna of Wroclaw, Anonymous of Wroclaw or Prague, via wikicommons/ Burgher S

You can view a gallery of Beautiful Madonnas on wikipedia article (which i sin Polish only, but has quite nice visuals.) Those Madonnas represented ideal beauty, those ladies are equivalent of  models of today.  This type of representation was not a stylized Madonna anymore, but one that looked like a woman from real world, dressed like her, standing, gesturing like her, interacting with her child like a real mother from real world.

Also they would be cherished as court ladies, their about their virtues troubadours would sing. Just she wouldn't be so real, as the ladies who were the subject of courtly love were supposed to be extremely virtuous, extremely good.Knight would fall in love just by hearing of their virtues, before seeing them in person. Love of such lady was supposed to transform the lover who worshiped her.

 Even though in secular world the poetry of courtly love also included erotic elements, there was also an element of total sublimation, spread by the philosophy of Neo-platonism. Certain ideas overlapped, for example the idea of total devotion which echoes in mystical writings among others in those by Bernard of Clairveau who adored Virgin Mary, not a lady in earthly form. The lady is so adored, that she becomes unreal, she becomes totally divine. An ideal lady in secular world was of course a queen, and often the Virgin is wearing a royal crown.

Bust of a Virgin, terreacota, Bohemia, XIVc, wikimedia/ Mieow Mieow

The love of the Virgin is similar to courtly love, but of course is platonic, totally mystical, often has symbolic forms, like the Song of Songs was interpreted symbolically. Medieval mysticism, or Mariology in general, can be confusing. Social context and a little bit of social history is needed in order to make more sense of it.

Certain elements of devotion to Virgin Mary have common points in the idea of courtly love, it is strong selfless adoration of a chosen woman. With time an earthly court lady was replaced by Madonna, the Heavenly Lady. When the times of courtly love, fin'amor, (fine love), came to an end, and new era came:  XIII c was time of strong devotion to the Virgin Mary and mystical experience of sublimated love which broke any connections to sensuality.

For example Daude de Pradas who was also a troubadour, wrote that God was ultimate ":fine love and truth," and who loves God is loved back perfectly by him. He used the term fin'amor  referring to God, the term which was used usually in connection with courtly love. Lanfranc Cigala, another troubadour, also wrote about fine love in his religious poems. In his Gloriosa sainta Maria he wrote that he now is praising Virgin Mary as his lady in his songs, as the earthly love gave him only disappointment and pain.

Was this the search for ultimate virtue which gave new characteristics to Mariology? Probably. But also more troubadours than before were admonished not to sing sensual songs after the Albigensian Crusade. At once the culture of Southern France, home of prominent troubadours, became "worse than of the Saracens."  This  is a typical excuse of the colonisers, to talk with contempt about the culture they conquered. It happened later, in cases of XIX c. colonisation as well, putting down on India, Africa, Indochina, etc. But sometimes the conquerors adopted certain things for themselves, "to pity to destroy," as one of my art history teachers said. Troubadours were not only there, but Occitan culture was the culture of troubadours like for example Germany has culture of philosophy and good engineering.

But ardent songs of earthly love had topoi which were easily translated and adopted into mystical experience of platonic love. Song of Songs was symbolic also. Metaphors of religious love included love of parents for their children, love of spouses and also love of siblings. It seems that we humans need things earthly to express things the most abstract but very real at the same time. Mystical experiences belong to such realm of strong abstraction and reality.

The Madonnas included in this article here you can see  in order of appearance in two museums in Poland  Madonna of Kruzlowa is in Krakow,  Wroclaw Madonna is in Warsaw,  and in Bohemian Madonna in New York.Article about courtly love from wikipedia

Forgoten Patron-Abbot Suger

If you are interested in art history, specially if you are interested in Medieval art, sooner or later you will run in your conversation, or books people recommend to you, into stories about Templars, how they introduced and built Gothic cathedrals, and so on. One name is never mentioned in such conversations,  or books: Abbot Suger's. It seems he disappeared from popular culture as contributor to Gothic art, or maybe he was never accepted. Pity, as he did as much for the development of Gothic architecture as the Medici's family did for the Renaissance. Of course, he is known to people who are serious about art history, but doesn't he deserve his place in the pantheon of movers and shakers and patrons who fueled new forms?

Chapel of the Virgin, St Denis basilica, via wiki commons by Myrabella

Abbot Suger was a man of many talents: he was a politician, statesman who served as regent of France when king was on crusade, he was a historian, art theorist, theologian and of course manager of a big and influential Abbey of Saint Denis. Not to idealise him: as many people of his times, he was sometimes opposing crusades, but sometimes he was in favor of them. Basilica of St Denis on wikipedia article

He was friend and confidant of the kings, and patron of artists and builders who had new ideas but were not given proper chance to bloom.

Sometimes, however, another situation happens: Abbot Suger is talked about as a single inventor of a Gothic style. This is not completely true: he wrote about aesthetics, wanted the walls to be higher, lighter, windows big and colorful, designed himself, introduced new features, loved things ornate and precious. But he collaborated with people who wanted to do things in a different way.Redesigning of St Denis wasn't his and only his project. He was very engaged, but didn't handle projects and firmly said: "build exactly what I drew." He was giving ideas, he accepted ideas, he was the project manager. Through him was possible to introduce large windows with pointed arches, ribbed vaults, clusters of columns, flying buttress, ambulatory with chapels radiating form it, and lots of light.

As you see on the picture above some features are still Carolingian, like for example columns, they still look like those from Antiquity. But arches are pointed already, vault is more complex, and windows are big.

Gothic style was a natural development of Romanesque style: what happens the newer style tended to make the building more spread in smaller part, branching out, more differentiated in forms, less compact, in comparison to the solid mass of Romanesque churches. The style was adopted fast, specially in royal domain of Ille de France, but still a lot of experimentation was going on. It happened that not all architectural ideas worked perfectly, talking about Europe now in general, not only France. There were instances when parts of cathedrals collapsed, or bad accidents happened. But with time building science was catching up with new aesthetics of creating higher and higher churches with bigger and bigger windows.

Rosette window in St Denis, North side,via wiki commons by Amirwiki
About Zodiac, see my blog entry about Charters and Zodiac

A lot of enthusiasm was involved in such projects, specially in France. France was the cradle of Gothic style and from here the style radiated to other countries. More stones were moved in France during the era of building Gothic cathedrals than in old Egypt in construction of pyramids, and cathedral builders were properly compensated. People who helped were volunteers, no slave work involved.

Volunteers were amazing enthusiasts.They were religious, of course, those people were products of their times like we often are products of our times. Haimon, abbot of Saint Pierre sur Dives wrote in his letter from 1145 about the wave of building enthusiasm among people in France. He wrote about building of Chartres cathedral. According to him even princes and nobility together with those of humble origin were pulling carts full of olive, wood, crops, stones, and anything which was needed for fulfilling the needs of the people working on the construction, or for the building of the church. Often a thousand or more people were pulling a cart full of stones, in great silence, in spirit of forgiveness of each other imperfections and in spirit of universal brotherhood and sisterhood. If you could hear anything at all , those were only prayers, or confessions of wrong doings and words of forgiveness among them. It was like a contemplative movement of peace among people for whom at such times differences among humans were not important, they worked in the spirit of brotherly and sisterly love. So wrote Haimon.

 Suger's ideas of the new style spread fast, but it doesn't mean that they were widely accepted without criticism: some churchmen said that ornate and rich style shouldn't be part of church buildings, church interiors, or church services. Cystersians were proponents of such ideas of humbleness and actually during Medieval times there was ongoing controversy about humbleness versus showing things divine through color, gold, light   and all things which could inspire awe. A little about Cystersian aesthetics in my other entry. I am not saying one approach was better than the other,but  they were competing.

 Abbot Suger not only broke frames of Carolingian building, (the abbey was built in this style) when he commissioned the rebuilding, but also asserted that awe is important part of religious experience.

Cystersian were more for soft quiet focus and contemplation, were against appeal to senses in churches. Colors, sumptuous decorations, music, incense, this was not important, they viewed it as distracting form the experience of closeness to God. Suger said the divine manifests in beauty, light an d color. He wasn't alone: this idea was well and alive because of monastery in Cluny. Founder of the Cystersian order, St. Bernard of Clairveaux simply opposed Cluniac theories. But Suger was on the side of Cluny: to him the stained glass windows were like a vision,  gold reminded of divine wisdom, soaring heights of church ceilings were leading thoughts to heaven. For sure churches were sanctuaries of beauty and space in European, not only French cities, which were dirty, conditions were crowded, as for example width of a room was the width of a bed, etc. But people could just step in a church building  and were transported into another, more beautiful world.

Perished Mary Magdalene's old collegiate church

Virgin Mary and Mary Magdalene are two women who are the most represented  in the history of Catholic church. Mary Magdalene is the second most shown woman, so we can safely say that as a saint she is the most represented after Virgin Mary. Both Marys are also shown in the type of images called assumption into heaven. Both were honored, and Mary Magdalene wasn't  marginalized as a saint, wasn't pushed into fringes of Catholic faith because the tradition was that she was a reformed prostitute. The marginalization theory is often repeated, and I think I understand where it comes from. Catholic church is most often pointed out as the main villain here, because she was labeled as former prostitute, but the fact gets overlooked that she was exceptionally honored also by the Catholics. I will give you an example of many, the collegiate church built in her honor.

This  was a collegiate church in Poznan, huge as a cathedral, which had a Mary Magdalene school adjacent to it. It was a high school, founded in 1303, the oldest secular school in Poland. The school must have been quite liberal for its days, as sometimes there were fights among the Catholics and the "heretics," when the students started to use fists in order to win arguments. Short tempers aside, but the fact that under the same roof were studying people who often represented very opposing views is nothing so common in old days. The picture above, by Alberti ( thank you Radomil) shows how big the building was even as  a ruin, in late XVIII c. It was built in the Middle Ages, once was one of the biggest Gothic churches in Poland, and the symbol of the city of Poznan. It was as big as St. Mary Basilica in Cracow, than the capital of Poland, but St. Mary Magdalene Collegiate church had even taller tower: 20 m (c.67') higher. The church was destroyed, the school survived until  today. Some trivia: among famous guests Chopin visited and gave concerts there, also the  school was awarded prestigious Order of Polonia Restituta Knights' Cross.

From Civitates ORbis Terrarum ( XVII c.) printed in Cologne

Why I am writing about a church which doesn't exist anymore? Specially because so many St. Mary Magdalene churches exists, or existed all over Europe. Fair point. But this one  has intersting history, which is very representative regarding two Marys, also how medieval art or architecture was treated during XIX c.

According to medieval chronicles, the  collegiate church was founded  in the middle of XIII  century. It had to do with urban planing: the city of Poznan was supposed to be moved to the other side of the Warta river, and people had idea to built a huge collegiate church.  One side had already St. Mary's Cathedral, so, it was decided that the new patroness should be St.Mary Magdalene. Very typical: Virgin Mary as the main super star, Mary Magdalen close to her in fame. Here Mary Magdalene with her church became something of a founding mother of the new city. Nice hommage. Also the church  was under patronage of the dukes of Greater Poland. Another trivia: those were the dukes who took Arthurian legends seriously, even styled themselves according the legends, also had crest of Lancelot. Maybe the dukes were the founders themselves, it is not clear. Other patronage later, when the ducal  lineage died out was taken by the king of Poland, from rather remote capital of Cracow.

The collegiate church of St. Mary Magdalene was different from a cathedral only in some aspects: it didn't have bishop's throne in it, ( the cathedrals have it), was not the sit of a bishop in the administrative sense, but it had body of clergy, canons,  member of a chapter in a similar manner to cathedral.Those members of clergy  who also have special honorary privileges were allowed to elect bishops. So, it was quite a prominent church. This church is one of the artistic examples of Mary Magdalene's prominence in the Catholic fait.

It took long to finish the construction work, very typical for those days too. Today what is left on this location  is only a plazza, one sculpture in a museum, the heart of a bell,  and an archeological dig.

 Once this church had 52 altars, 27 chapels, the tower was 114.8 m tall (376' ) high enough to be listed among tallest church towers. The tower was slightly shorter than the tower of Chartres Cathedral (115 m). The width of St. Mary Magdalene church was 42 m, had three naves  (Chartres has 32 m to 46 m width). St. Mary Magdalene's church was was 70 m long "only" as compared to Chartres, imposing 130 m length. In feet 233, and 433. This is addressed  to those who are familiar with Chartres. However, 70 m length of a church isn't little either, actually it is a lot. In comparison to the cathedral in Poznan (St. Mary's Cathedral) this church was only 2 m shorter in length, but wider 6 m (20') than 36 m wide St. Mary's Cathedral. If devotion can be measure in meters and feet, not bad at all for a saint who was considered a former prostitute. Mary Magdalene got a church which was actually bigger in square meters or square feet measurements, with a  taller tower than the local cathedral. Mary Magdalene wasn't much on the margins.

This model of the church is nice (thank you Poznaniak). I don't know how accurate it is, if during medieval times the roof tiles were so big in proportion to the rest of the church? But I am not an architecture historian. Today the size of the roof tiles would indicate average building in Europe, which this church was of course not. So, squint you eyes to get maybe better feel for the real proportions. This is artist talking in me.

The church suffered the last of devastating fires at the end of XVIII c. People tried to rebuild it, but lightning caused  the wall to fall , and in 1802 the consensus was that the church will not be rebuilt. Those were the times when medieval heritage wasn't as much appreciated as it is today. For example Prussian administration  (Poznan was occupied by Prussia at this time) ordered to destroy the medieval city walls. I didn't know if the people gave up, or the Prussians administration didn't give permission, as often happened, the church is lost forever. But not blaming the Prussian here: destroying parts of Medieval heritage wasn't so uncommon. Krakow, then under Austrian occupation, lost its medieval walls too. For example Paris doesn't have the Old Town anymore because it was destroyed in order to make way for modernisation of the city. Cloisters Museum in New York exist because the old monasteries were considered worthless in France, were in a state of ruin. An appreciative American bought it and shipped to US, cloisters were lovingly re-assembled. Good for us and future generations.

Some churches were demolished by purpose, explosives were used. Chartres again: it was planed to destroy the cathedral, as some were destroyed already, explosives were set, just someone, lucky for us today and the future generations, decided that the explosion will create too much of  unnecessary dust clouds. French Revolution: some churches, if survived the destructive zeal directed  at Medieval and religious art,  were supposed to be converted to the so called "temples of Reason." Sigh...

Today the archaeologists excavate what is left from the St. Mary Magdalene church. They found interesting objects, also conduct genetic research of the human remains found the collegiate church, as it was also the resting place of many prominent figures in local history. Archeology is very interdisciplinary today: DNA testing allows to know quite a lot about public health in earlier days, genetic illnesses shared by members of similar population, or families, etc. In  earlier days  big help for archaeologists was carbon dating, today they have also DNA testing to their disposal, scanning of the grounds or objects, aerial photography, impressive inventions. What comes next, I am curious.

Alberti ,Ruins of the church of St. Mary Magdalen in Poznan, via Radomil

Colors of Power: red and blue- History of Color in Middle Ages # 9

Red and blue, most prominent color duo of the Middle Ages. People just loved them so much, that even when writing about rainbow  they wrote often only blue and red! Also the existence of separated guilds of dyesrs dedicated for each color may be a testimony for high esteem and priceses of those particular colors.

 We see here in the video the colorful splendor of the Middle Ages, about illuminated manuscripts about British royals. Lots of color, but most prominently the duo of red and blue. Fresh colors, most of the time.Video window may not come up in an instant.
Interesting movie by BBC about royal illuminated manuscripts.

Here Charlemagne is  being crowned.

Emperor's Charlemagne Coronation, Illuminated mansucript, via wiki commons

Red and blue were colors of power in the secular world, why?  Red and blue dyes were expensive, not common, and people loved those hues, of course. Red was used after the purple of Tyre, very expensive and reserved only for the rulers, became less and less available. Red in a more dark, dignified edition was replacing purple,which had a brownish tinge, not what we commonly classify as purple today, until appeared in its pure form, lighter and brighter. As we see bellow, on the Annunciation picture.The same with blue, it was considered a very noble color, and as the blue dye became to symbolize affluence and also royals were using it. (Royal blue).

Announciation by Petrus Christus, via wiki commons

Here on this Anounciation by Petrus Christus we see Virgin Mary dresses in a red mantle. We see the typical elements of Announciation, as the lilies signifying Mary's purity, the vase a pure vesel, open book also is traditional. Always opened on the same page on all paintings, Isaiah 7:14, or psalter pages in earlier book. Other written words is the passage from Announciation of the New Testament, the words spoken by the archangel ("Ave Maria,  gracia, plena"etc) was directly written in the picture. Mary is here depicted as a fine lady, dresses in a rich garment, expensive mantle.  Click here to read more about Announciation symbolism.
This painting is considered early Northern Renaissance, but still has elements of Gothic art. For example the folds of the robes of the angels are still very hard and geometric, the angel's posture is typical for Medieval art, also his wings, strong color, not white. But we see already linear perspective on the tiles of the floor, increased realism of depiction in painting, eye for detail.

Court scene from November,  Book of Hours of the Duke de Berry, Via Wiki commons

What a rich blue wears this duke! Probably he is the Duc de Berry himself, it is a miniature by Limbourg brothers, form the Tres Riches Heurs di Duc de Berry, form the magnificent manuscripts collection of the Musee Condee.
                                              

Announciation, unknown German Master, via wiki commons

The Announcaition again, this time we see all elements traditionally depicted in announciations, but this time the book is  not opened, but text is written on the banner held by the archangel.("Hail Mary, full of grace"). this banner as a speech bubble appears often.Wallraf Richttarzt Museum Cologne. Mary with a book again, it has significance, depends if closed or open, etc. Soon about Mary and book symbolism, an elaboration on this  important element of  iconography.

Altdorfer, Virgin Mary with Child, XIV.c via wiki commoms

Virgin Mary as queen, with infant Jesus in her arms, by Altdorfer, (German), museum in Budapest.Infant Jesus has a necklace symbolzsing his future Passion and death on the cross (coral ) which in secular symbolism and superstition of the days: it  was supposed to avert evil. The apple is relating to original sin, held by Jesus is a symbol of redemption, eradication of sin.

Death of the Virgin, by Konrad von Soest, Mary on her death bed attended by humans of saintly and common stature, and by angels themselves. We see richly embroidered blue mantle and blue angels, as the symbols of heavenly realm.Also prominent is red/blue color duo, gold background. Closed books also present, symbol of the Virgin. What is written on the open scroll, which is read by bearded man dressed in red, with his head covered as sign of respect and humility? The paleographers would tell. The saint whose hand holding quill  is almost touching Virgin's hand is, has "Saint John the Apostle" written on his hallo.

Death of Mary by Konrad von Soest, via wiki coomons

 

Gothic Art Outside France? Any Good? Central Europe, etc.?

French Gothic art is very renown, and for good reason. French cathedrals are magnificent, totally awe-inspiring.

Sadly, often it is only Gothic art known to travelers in Europe, and I understand that. Time and money can be a limiting factor. I consider myself lucky, growing and living where I could just take a walk and could step in a welcoming interior of a Gothic cathedral. Or a Gothic church, or a Baroque one, and other international styles. For sure this can nourish your aesthetic sensibilities. This is one reason I write this blog, to be able to share what I got for granted.

Sure, Reims, Chartres, Notre Dame, etc. are worth the journey, are iconic. So are Paris, Giverny, Carcassonne, and other beautiful places. So is Cologne with magnificent and finished cathedral towers.Stump-like towers of French cathedrals are unfinished, you know, those towers with flat tops? Those are unfinished ones, not just the intention of the builders.

Other German cathedrals or Gothic churches are also worth the visit. They look very much like the French ones, but the towers are usually much taller, truly the intention of Gothic, often with open work spires, lacy. Gothic was architecture which ambition was to grow as much in height as possible, the ideal was  to get the numbers of the ratio of walls and floor space as much different as possible (1:1 would be a bad ratio!) Cologne cathedral has 1:4 ratio of surface vs. height. French cathedrals get to 1:3 ratio. It was like a racing toward the sky, and often the attempts of getting the ratio to the extremes resulted in collapses of the cathedrals.Here is shown what you can see, and hear at the Cologne Cathedral.

And here are the magnificent bells an the exterior of Cologne Cathedral

  But there is of course beautiful lot of Gothic art in other countries too: England, Spain, Portugal, Czech Republic, Poland, Baltic States. Poland and Baltic States have examples of brick Gothic.

Portal of St. Vitus Cathedral wit rose window, stone masonry, Prague, via wiki commons courtesy of Vaylag

With mass tourism being such lively enterprise, many people are able to see a lot, but often this is knowledge given by the tour guides. Pity when among Gothic cathedrals only Chartres or Notre Dame rings the bell, but Amiens is a total mystery. I mean I don't argue to visit all possible sites, but to read. I wonder, maybe it is the fault of art historians, or popularizes, or people like me who can't make the subject interesting? For ex. authors who make Chartres a place of mystery reshaping its once famous cathedral school, (but one of many cathedral schools of the day) into some esoteric tradition school have the upper hand, as captivating story is given. Facts can be captivating? I think so, but then I am an art history geek.

There is also a curious situation regarding the Middle Ages: most popular knowledge deals with Western, parts of Central Europe, little with Eastern Europe. Byzantium is kind of a lost empire. Prague, luckily, developed into a tourist attraction. Krakow (Cracow) seems to be on its way now. I am Polish, and I am sometimes surprised when some people are surprised when they see that this country had Romanesque, Gothic, Renaissance, etc. It seems that it was such an empty hole in European history, regarding some countries, due to long slumber behind the iron curtain. Once I felt like someone coming totally out of empty space when I watched supposed to be educational video (US produced VHS), about Battle of Vienna. It made me laugh, as the video mentioned only prince Eugene of Savoy, as army commander. No mention about Polish army, even though it was a bi-national enterprise, and actually the Polish king, Johan III Sobieski was more in charge than Prince Eugene. Not that I care so much, and during times of Wikipedia such things are corrected, but it was really funny, how big of  a hole in knowledge can be created in one piece of material. One of the most decisive battles in European history, two big armies of two nations, and you totally forget one army plus the commander in chief? What a curious and amusing case of selective blindness! Cold War legacy? ;-)

Along the line of random info spreading, the Czechs had their own brand of Protestantism, c. one century before Luther (Jan Hus, Czech Brethren, etc.). Poland had religious tolerance guaranteed by law, including Statutes of Kalisz, about the protection of Jews. (Not as bad as in other countries, but it didn't mean it was a totally safe heaven). Religiously different people lived there, including the Cathars. The Kinghts Templars too. Or other crusaders who went for Northern Crusades, (often turned against Poles) . One blog writer from Czech Republic claims that every village in his country has some legend about the Knights Templars. Templar legends in general are not so very French-centered.

 Lots of mysterious, interesting stuff in other parts of Europe. For example devil in Polish art was treated as humorous nasty  figure and was often ridiculed, not a scary being like in the Western Europe. Devils form St. Mary Church in Cracow were painted in strong colors. In another Central European country, Germany, devil was feared, and stakes witches were burned. The conspiracy theory about witches came to Poland during the Renaissance, when the witch hunts intensified, but it was less common, and actually the Latin Church was not by law excluded form participation: only secular power did it. Strange? No. This is info is to point out the diversity of Europe during the Middle Ages and the Renaissance.

I don't have links about Gothic art in Slovenia, but Gothic went there via Prague, and Parler.I am mentioning Slovenia, as it it a very pictoresque country, (my hubby loved it), which enjoys, rightly so, many tourists visits. Very, very interesting landscapes, history, architecture, coasts in general.
A beautiful Corvin Castle in Romania you can see clicking on this sentence.

Here is a link to a site, in Polish; I apologize, but just for the sake of the pictures. There are iconic examples, such as Chartres, Nuamberg, Limbourg Brothers, Sluter, Crucifix of Geron, but also believed to be a miracle working crucifix from Cracow, and other examples, like the biggest Gothic altar in the St.Mary Church in Cracow, or probably the first authoportrait by Peter Parler in Prague, and wonderful St. Vitus Cathedral, Malbork Castle, and  "armor Madonnas" (Crusaders art, can be opened as cabinets!), and other exciting examples. The other is the link to St. Vitus Cathedral Wikipedia article. Enjoy!
http://www.historiasztuki.com.pl/001_KANON_GOT_2.html
http://en.wikipedia.org/wiki/St._Vitus_Cathedral