)78
ACHIM TtMMERMANN
7. A Aerera.s', Cr/aA, /oz?/ (//lor/a/t; (Ao77?/?/Ae<7 //'ow ,sw///wg.s7
aisles in the first northern bay, in close proximity to the north portal, the main point of
physical access to the church. Of eye-catching size, the work impresses itself almost im-
mediately on the viewer, forcefully directing attention to the very site at which spiritual
access to the Church and its mysteries was mediated and celebrated. If seen from up close
(ill. 2), the structure's soaring silhouette dissolves into a labyrinth of buttresses, tlyers,
bent pinnacles, curved gables, naturalistic branchwork, and baldachins inhabited by holy
protagonists. This astounding concoction of convoluted forms and monadic, ethereal spa-
ces generates what Matt Kayaler has called 'narratives of ornament'/which gradually
^ Ethan Matt KAVALER, RtrA/Ty o/ 'Art History' XXIX:
2006, pp. 1-46, esp. pp. 19-32.
ACHIM TtMMERMANN
7. A Aerera.s', Cr/aA, /oz?/ (//lor/a/t; (Ao77?/?/Ae<7 //'ow ,sw///wg.s7
aisles in the first northern bay, in close proximity to the north portal, the main point of
physical access to the church. Of eye-catching size, the work impresses itself almost im-
mediately on the viewer, forcefully directing attention to the very site at which spiritual
access to the Church and its mysteries was mediated and celebrated. If seen from up close
(ill. 2), the structure's soaring silhouette dissolves into a labyrinth of buttresses, tlyers,
bent pinnacles, curved gables, naturalistic branchwork, and baldachins inhabited by holy
protagonists. This astounding concoction of convoluted forms and monadic, ethereal spa-
ces generates what Matt Kayaler has called 'narratives of ornament'/which gradually
^ Ethan Matt KAVALER, RtrA/Ty o/ 'Art History' XXIX:
2006, pp. 1-46, esp. pp. 19-32.