Editing Sculpture (section)

===== Gothic =====
{{main|Gothic art}}
[[File:Vierge a l'Enfant debout.jpg|thumb|French ivory Virgin and Child, end of 13th century, 25 cm high, curving to fit the shape of the ivory tusk]]
The Gothic period is essentially defined by [[Gothic architecture]], and does not entirely fit with the development of style in sculpture in either its start or finish. The facades of large churches, especially around doors, continued to have large typanums, but also rows of sculpted figures spreading around them. The statues on the Western (Royal) Portal at [[Chartres Cathedral]] ({{circa|1145}}) show an elegant but exaggerated columnar elongation, but those on the south [[transept]] portal, from 1215 to 1220, show a more naturalistic style and increasing detachment from the wall behind, and some awareness of the classical tradition. These trends were continued in the west portal at [[Reims Cathedral]] of a few years later, where the figures are almost in the round, as became usual as Gothic spread across Europe.<ref>Honour and Fleming, 297–300; Henderson, 55, 82–84.</ref>

In Italy [[Nicola Pisano]] (1258–1278) and his son [[Giovanni Pisano|Giovanni]] developed a style that is often called [[Proto-Renaissance]], with unmistakable influence from Roman sarcophagi and sophisticated and crowded compositions, including a sympathetic handling of nudity, in relief panels on their [[Siena Cathedral Pulpit]] (1265–68), [[Pulpit in the Pisa Baptistery]] (1260), the [[Fontana Maggiore]] in [[Perugia]], and Giovanni's [[Pulpit by Giovanni Pisano in Sant'Andrea, Pistoia|pulpit in Pistoia]] of 1301.<ref>Olson, 11–24; Honour and Fleming, 304; Henderson, 41.</ref>  Another revival of classical style is seen in the [[International Gothic]] work of [[Claus Sluter]] and his followers in [[Burgundy (historical region)|Burgundy]] and [[Flanders]] around 1400.<ref>Snyder, 65–69.</ref>  Late Gothic sculpture continued in the North, with a fashion for very large wooden sculpted altarpieces with increasingly virtuoso carving and large numbers agitated expressive figures; most surviving examples are in Germany, after much iconoclasm elsewhere. [[Tilman Riemenschneider]], [[Veit Stoss]] and others continued the style well into the 16th century, gradually absorbing Italian Renaissance influences.<ref>Snyder, 305–11.</ref>

Life-size tomb effigies in stone or [[alabaster]] became popular for the wealthy, and grand multi-level tombs evolved, with the [[Scaliger Tombs]] of [[Verona]] so large they had to be moved outside the church. By the 15th century there was an industry exporting [[Nottingham alabaster]] altar reliefs in groups of panels over much of Europe for economical parishes who could not afford stone retables.<ref>[http://www.vam.ac.uk/vastatic/microsites/bbchistory/object_text07.htm] {{Webarchive|url=https://web.archive.org/web/20120804003215/http://www.vam.ac.uk/vastatic/microsites/bbchistory/object_text07.htm|date=2012-08-04}} [[V&A Museum]] feature on the Nottingham alabaster ''Swansea Altarpiece''.</ref>  Small carvings, for a mainly lay and often female market, became a considerable industry in Paris and some other centres. Types of ivories included small devotional [[polyptych]]s, [[Virgin and Child from the Sainte-Chapelle|single figures, especially of the Virgin]], mirror-cases, combs, and [[Casket with Scenes of Romances (Walters 71264)|elaborate caskets with scenes from Romances]], used as engagement presents.<ref>Calkins, 193–98.</ref>  The very wealthy collected extravagantly elaborate jewelled and enamelled metalwork, both secular and religious, like the [[Duc de Berry]]'s [[Holy Thorn Reliquary]], until they ran short of money, when they were melted down again for cash.<ref>Cherry, 25–48; Henderson, 134–41.</ref>

<gallery widths="200px" heights="200px">
File:Chartres2006 077.jpg|West portal of [[Chartres Cathedral]] ({{circa|1145}})
File:Chartres cathedral 023 martyrs S TTaylor.JPG|South portal of [[Chartres Cathedral]] ({{circa|1215}}–1220)
File:Reims6.jpg|West portal at [[Reims Cathedral]], [[Annunciation]] group
File:Pisa.Baptistery.pulpit02.jpg|[[Nicola Pisano]], ''Nativity'' and ''[[Adoration of the Magi]]'' from the [[Pulpit in the Pisa Baptistery]]
File:Bamberger Dom-Bamberger Reiter.JPG|The [[Bamberg Horseman]] 1237, near life-size stone [[equestrian statue]], the first of this kind since [[antiquities|antiquity]].
File:French - Casket with Scenes of Romances - Walters 71264 - Top.jpg|Lid of the [[Casket with Scenes of Romances (Walters 71264)|Walters Casket]], with the ''Siege of the Castle of Love'' at left, and [[jousting]]. Paris, 1330–1350
File:Siege castle love Louvre OA6933.jpg|''Siege of the Castle of Love'' on a mirror-case in the [[Musée du Louvre|Louvre]], 1350–1370; the ladies are losing.
File:Pietà Naumburg Cathedral 01a.jpg|Central German [[Pietà]], 1330–1340
File:Dijon mosesbrunnen4.jpg|[[Claus Sluter]], [[David (biblical king)|David]] and a [[prophet]] from the ''Well of Moses''
File:Holy Thorn Reliquary base.jpg|Base of the [[Holy Thorn Reliquary]], a ''Resurrection of the Dead'' in gold, enamel and gems
File:English - Resurrection - Walters 27308.jpg|Section of a panelled altarpiece with ''[[Resurrection of Christ]]'', English, 1450–1490, [[Nottingham alabaster]] with remains of colour
File:Rothenburg ob der Tauber 2011 St Jakob 002.JPG|Detail of the [[Last Supper]] from [[Tilman Riemenschneider]]'s ''Altar of the Holy Blood'', 1501–1505, [[Rothenburg ob der Tauber]], [[Bavaria]]
</gallery>