DOI Artikel:
Pastan, Elizabeth Carson: A window on Panofsky’s Gothic architecture and scholasticism
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.59426#0083
82
7. Detail of the Wind rose from The Walters Cosmography, c. 1190-1200, Baltimore, Walters Art Museum, MS W73, fol. Iv. Reproduced cour-
tesy of The Digital Walters Creative Commons Atribution-ShareAlike.
the terminal arms of the building. The term “rose win-
dow” does not derive from floral imagery, as its current
appellation or one of the popular covers of Gothic Archi-
tecture and Scholasticism suggests [Fig. 6], but rather is
a deformation of the Latin word “rota,” or wheel.* * * * * * * 53 * * 53 “Rose
pp. 19-20 (as in note 48). Also see ƒ. Hillson, ‘Villard de Hon-
necourt and Bar Tracery: Reims Cathedral and Processes of Sty-
listic Transmission, ca. 1210-40’, Gesta, 59, 2020, pp. 169-202; and
for the well-preserved tracery of a rose window, complete with its
wrought-iron armature set into a wooden frame rebated into the
stone, see C. Lautier, ‘The West Rose of the Cathedral of Char-
tres’ (as in n. 30).
53 C. Enlart, Manuel d’archéologie française: depuis les temps méro-
vingiens jusqu’à la Renaissance, 3rd ed., Paris, 1927, p. 329; di-
scussed in HJ. Dow, ‘Rose-Window’, pp. 268-269 (as in note
51); R. Suckale, ‘Thesen zum Bedeutungswandel der goti-
schen Fensterrose’, in Bauwerk und Bildwerk im Hochmittelalter:
window” was not used before the 15th century, and likely
originated as a vernacular version of the Latin word rota,
such as the Old French roe, or roes in the plural. The term
“rota window” encompasses both the shape of what we
now call a rose window and the traceries to secure the
glass into the aperture.54
In the Middle Ages the most common association with
the rota was the wheel-shaped diagram of the kind shown
here depicting the winds from the Cosmography at the
Walters Art Museum [Fig. 7]. As Michael Evans summa-
rized, “in the Middle Ages [the rota] would have been as
Anschauliche Beiträge zur Kultur- und Sozialgeschichte, eds.
K. Clausberg, D. Kimpel, H.-J. Kunst, R. Suckale, Giessen, 1981,
pp. 259-294 at p. 264, n. 7.
54 E. Carson Pastan, ‘Regarding the Early Rose Window’, in Inves-
tigations in Medieval Stained Glass, pp. 269-281 at pp. 273-275 (as
in note 48).
7. Detail of the Wind rose from The Walters Cosmography, c. 1190-1200, Baltimore, Walters Art Museum, MS W73, fol. Iv. Reproduced cour-
tesy of The Digital Walters Creative Commons Atribution-ShareAlike.
the terminal arms of the building. The term “rose win-
dow” does not derive from floral imagery, as its current
appellation or one of the popular covers of Gothic Archi-
tecture and Scholasticism suggests [Fig. 6], but rather is
a deformation of the Latin word “rota,” or wheel.* * * * * * * 53 * * 53 “Rose
pp. 19-20 (as in note 48). Also see ƒ. Hillson, ‘Villard de Hon-
necourt and Bar Tracery: Reims Cathedral and Processes of Sty-
listic Transmission, ca. 1210-40’, Gesta, 59, 2020, pp. 169-202; and
for the well-preserved tracery of a rose window, complete with its
wrought-iron armature set into a wooden frame rebated into the
stone, see C. Lautier, ‘The West Rose of the Cathedral of Char-
tres’ (as in n. 30).
53 C. Enlart, Manuel d’archéologie française: depuis les temps méro-
vingiens jusqu’à la Renaissance, 3rd ed., Paris, 1927, p. 329; di-
scussed in HJ. Dow, ‘Rose-Window’, pp. 268-269 (as in note
51); R. Suckale, ‘Thesen zum Bedeutungswandel der goti-
schen Fensterrose’, in Bauwerk und Bildwerk im Hochmittelalter:
window” was not used before the 15th century, and likely
originated as a vernacular version of the Latin word rota,
such as the Old French roe, or roes in the plural. The term
“rota window” encompasses both the shape of what we
now call a rose window and the traceries to secure the
glass into the aperture.54
In the Middle Ages the most common association with
the rota was the wheel-shaped diagram of the kind shown
here depicting the winds from the Cosmography at the
Walters Art Museum [Fig. 7]. As Michael Evans summa-
rized, “in the Middle Ages [the rota] would have been as
Anschauliche Beiträge zur Kultur- und Sozialgeschichte, eds.
K. Clausberg, D. Kimpel, H.-J. Kunst, R. Suckale, Giessen, 1981,
pp. 259-294 at p. 264, n. 7.
54 E. Carson Pastan, ‘Regarding the Early Rose Window’, in Inves-
tigations in Medieval Stained Glass, pp. 269-281 at pp. 273-275 (as
in note 48).