late gothic architecture
Introduction
Late Gothic or Final Gothic are names in art historiography to designate the final period of Gothic art, corresponding to the century, and in some countries extended until the century.
In this period, Gothic architecture lost its basic role as a unifier of the arts and became less of a protagonist. Since the century, architectural experiences have been destined mainly to the field of decoration. The characteristic asymmetrical openwork, with twisted shapes inspired by networks of plant elements, similar to the flames "Flame (chemistry)"), led the French historian Arcisse de Caumont to coin the term flamboyant for this phase ("flamboyant" -flamboyant Gothic-). The term florid Gothic is also used in a similar way, although this nomenclature is of misleading application.
As an equivalent term for this phase of Gothic, the expression "Baroque Gothic" is used by authors who apply the theory of the evolution of styles to Gothic as a unitary body; in the same way that early Gothic is identified as "archaic Gothic", full Gothic as "classical Gothic" and radiant Gothic as "mannerist Gothic"; but these denominations do not achieve much use.
The evolution of Gothic did not follow the same pattern in all European countries, but had very different regional variations: while in Italy the century (Quattrocento) is that of the imposition of the classical Greco-Roman models of the Italian Renaissance, and north of the Alps (kingdom of France, Burgundian State, Holy Empire) the so-called "international Gothic" continues (the labels "courteous Gothic" and "sweet style" are also used)" -style adouci, weicher Stil-), in the kingdom of England and in the peninsular Christian kingdoms, styles were built with a marked "proto-national" character whose differentiating features were substantially the decorative elements.
Thomas Rickman coined the term "perpendicular Gothic" in 1817 to apply it to English architectural creations between 1350 and 1500, characterized by the fan vault and its marked linearity, compared to the sense of height of Central European Gothic. It would be the most typical English creation, to the point that it was characterized as an opus anglicanum, radically opposed to the opus francigenum. The Tudor style continued these forms throughout the century.
For the Crown of Castile, Émile Bertaux[1] coined the term "Elizabethan Gothic" in 1911, due to the influence of Isabel I of Castile as a patron of the arts. The success of the name was not without criticism and alternative names, such as "Fernandine Gothic")" (in relation to Ferdinand the Catholic, her husband and king of the Crown of Aragon), or the combined name: "Catholic Kings style". José María de Azcárate[2] proposed the label "Hispano-Flamenco", which alluded to the confluence of local features, of Mudejar origin, with features coming from flamenco art. For the Kingdom of Portugal, the name "Manueline style", much more ornate than the Elizabethan style, with decorations of vegetal and nautical motifs (in reference to the discoveries that had turned the kingdom into a power), is due to the reign of Manuel I (1490-1520).