Note 313 — Chapter IX · The Gothic Art of Burgundy[267] (continued 2)

M. Enlart calls Fossanuova, on the Appian Way between Rome and Naples, the first Gothic church in Italy, begun in 1187 by Burgundian Cistercians. Mr. Porter thinks that the infiltration had begun thirty years earlier through various channels. In 1208 Innocent III dedicated Fossanuova; in 1274 St. Thomas Aquinas died there, en route to the Council at Lyons. The same plain Burgundian plan was followed at Casamari (1217), and a daughter house of the latter was S. Galgano (1218), from which went monks who are cited as the masters-of-works of Siena Cathedral, the best Gothic edifice of the peninsula. Monks from French Clairvaux built the three Chiaravalle churches of Italy, and monks from Pontigny raised S. Martino near Viterbo. Later, Italy felt the influence of different French schools; thus the Naples churches are Gothic of Provence because southern French architects accompanied Charles d’Anjou, count of Provence, when he became king of the Two Sicilies. At Assisi the church of S. Francesco shows the Gothic traits of Burgundy, Provence, and Champagne. The Cistercians introduced the torus profile of diagonals, but they long clung to round-headed windows. The Provence masters introduced pointed arched windows. In Spain, Cîteaux found a rival in the monks of Cluny for the dissemination of the new art. In the XII century a large number of Spanish bishoprics were filled by Cluny monks. Sometimes they built according to their own native architecture, as in Lugo Cathedral, San Vincente at Avila, and churches in Seville, which are Burgundian Romanesque. Sigüenza Cathedral is Burgundian both in its Romanesque and Gothic parts. Zamora Cathedral, consecrated 1174, and the old cathedral of Salamanca, show traits of Aquitaine; both sees were occupied by Bishop Jerome, who came from Périgieux. The Cistercians of Spain did not confine themselves, as in Italy, to typically Burgundian Gothic churches. Poblet and Santa-Creus (1157) derive from the early Gothic of Midi France, as well as from Burgundy. Las Huelgas, the Cistercian house for nuns near Burgos, finished about 1180, shows slight Burgundian and much Plantagenet Gothic influence. The foundress was the daughter of Henry II and Aliénor of Aquitaine. In Spain, as in Italy, the later Gothic monuments conformed to the standards of northern French Gothic. Portugal was more exclusively a Cistercian field of art. In 1148, Alcobaça monastery was founded by the son of a Burgundian prince, progenitor of Portugal’s royal line. While it shows Angevin Gothic traits, its plan is the sober Cistercian Burgundian type. In the military Orders of Spain and Portugal the Cistercian Rule was used. The king of Sweden, in 1143, obtained Cistercian missionaries from Clairvaux; in Denmark the abbey church of Sorö is Burgundian Gothic. Camille Enlart, Les origines de l’architecture gothique en Espagne et en Portugal (Paris, 1894); ibid., L’architecture gothique en Italie (Paris, 1893); ibid., Notes archéologiques sur les abbayes cisterciennes de Scandinavie (Paris, 1894); ibid., “Villard de Honnecourt et les Cisterciens,” in Biblio. de l’École des chartes, 1895; ibid., L’art gothique ... en Chypre (Paris, 1899), 2 vols.