Medieval Architecture (Oxford
History of Art) by Nicola Coldstream
Belongs In The Medievalist's Or Art Student's Library
Medieval architecture comprises much more than the traditional image of
Gothic cathedrals and the castles of chivalry. A great variety of buildings--
synagogues, halls, and barns--testify to the diverse communities and
interests in western Europe in the centuries between 1150 and 1550. This
book looks at their architecture from an entirely fresh perspective, shifting
the emphasis away from such areas as France towards the creativity of
other regions, including central Europe and Spain. Treating the subject
thematically, Coldstream seeks out what all buildings, both religious and
secular, have in common, and how they reflect the material and spiritual
concerns of the people who built and used them. Furthermore, the author
considers how and why, after four centuries of shaping the landscapes and
urban patterns of Europe, medieval styles were superseded by classicism.

Personal Review: Medieval Architecture (Oxford History of Art)
by Nicola Coldstream
Part of the Oxford History of Art Series, this text on medieval architecture
by Nicola Coldstream is an excellent survey of the development of
architectural forms throughout the medieval period. Designed for the art
major who is taking courses on architectural forms and history, the text
provides a well-rounded presentation on the subject. Commencing with the
derivation of the word "gothic," the book goes on to describe gothic's
subsequent development as an architectural form through some five
hundred years, and presents the differentiating features of the early, high,
and late gothic, the flamboyant, and the rayonnant forms.
After this orientation to the term "gothic," the text moves into a section on
"Structure and Design," which covers floor plan design, architectural
models, the role of the architect, and constructive geometry. A large
section of the book covers the symbiotic roles of patrons and builders.
Later sections of the book cover issues such as architectural space and
representational art in great detail. Numerous full-color diagrammatic
images support the text, and maps are also used as needed, making this
book quite an impressive introductory text to the subject that should orient
any reader to the subject.
It is rare to find a book on such a theme that is simultaneously printed on
high-quality semi-gloss paper, presented with the majority of its images in
full color, be small enough to comfortably hold, and at the same time, be
reasonably priced. This book, however, fits the bill admirably. The only
small quibble would be that not ALL the photos are color. The majority
indeed are, but it is unfortunate that, in an attempt, no doubt, to keep the
cost down, a number of the photos are reproduced only in black and white.
Nevertheless, and especially when one considers the price, it is pleasing to
find the majority of photos are in color, and reproduced in good quality, as
well. I highly recommend this book as an outstanding part of the library of a
medievalist, an art scholar, or simply anyone interested in the emergence
of gothic architecture. That the book is available at less than $15 is simply
incredible.
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