Chapter 3
in Gothic effigy
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

In the latter half of the twelfth century, monumental Gothic sculpture proliferated on the façades and around portals of cathedrals, with column statues carved from the same blocks as the columns themselves. The proliferation of multifarious Goth and Gothic dark-themed statuary has its origin both in graveyard statuary and the macabre figurines featured in some household collections and cabinets of curiosity. Some commentators on Mark Porter's statue of Baphomet have claimed the work as libertarian, individualist and Gothic. Early humanoid automata appear in the Medieval works that authors of the literary Gothic wished to emulate and pastiche. Ceroplastic studio was established at the Imperio Museo di Fisica e Storia Naturale or 'Le Specola', which resulted in one of the most comprehensive and medically accurate collections of wax simulacra of the human body. Alexandre Bustillo and Julien Maury's Livide intersperses the iconography of human taxidermy with automata and vampirism.

Gothic effigy

A guide to dark visibilities

Metrics

All Time Past Year Past 30 Days
Abstract Views 336 128 11
Full Text Views 165 54 2
PDF Downloads 61 33 2