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By Hans Hellmut Hofstätter

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Here we have a detail from its lowest zone. The entire wall is covered with trefoil-arched niches, each containing a statue. Each tier of figures is separated from the next by an ornamental framework with a luxuriant growth of plants in low relief. The flatness of the exterior surface contrasts with, and emphasizes, the seemingly indeterminate depth of the niches themselves. Here, in a way completely novel for the Gothic, the relationship between figures and space is unified each figure fits into its own clearly marked-off area, so that the surrounding space becomes an inseparable component of the figure itself.

Sance which was already in germination and which, from Avignon, spread to the royal courts 38 One of ing the few surviv- on frescoes r the theme of the hunt in the study of Pope Clement VI (1342-52) in the wardrobe tower of the Papal Avignon, Its delight marks it Palace at built in 1343. in nature as a transition Gothic and announces the be- to the Late also ginning of the Italian Renaissance West fagade of the called Palais so- Vieux, Palace of the Popes, Avignon. Built under Benedict XII (i 334-42).

As a consequence of the new, subtle understanding of how all parts of the human body work together functionally, the sculptor made The smiling angel of 28 this smile as bearer of something unforgettable. The conception of the inner fagade of the west end of Reims Cathedral had neither precedent nor succession, a unique artistic achievement. Earher (page 23) we saw that part of the west wall that is visible from the nave. Here we have a detail from its lowest zone. The entire wall is covered with trefoil-arched niches, each containing a statue.

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