SOHIER, Hector

The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late Gothic building, and internally the vaulting goes through every convolution known to Flamboyant builders, particularly in the Lady Chapel, which rises to double the height of the ambulatory. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.

On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracery. The pierced balustrade, however, is more fanciful, and the artist has given free rein to his imagination in the candelabra which replace the finials. The two elements, French medieval and north Italian Quattrocento, stand clearly distinguishable, and yet the result is not discordant.

The photo shows the apse.

The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late Gothic building, and internally the vaulting goes through every convolution known to Flamboyant builders, particularly in the Lady Chapel, which rises to double the height of the ambulatory. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.

On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracery. The pierced balustrade, however, is more fanciful, and the artist has given free rein to his imagination in the candelabra which replace the finials. The two elements, French medieval and north Italian Quattrocento, stand clearly distinguishable, and yet the result is not discordant.

The photo shows the apse.

The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late Gothic building, and internally the vaulting goes through every convolution known to Flamboyant builders, particularly in the Lady Chapel, which rises to double the height of the ambulatory. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.

On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracery. The pierced balustrade, however, is more fanciful, and the artist has given free rein to his imagination in the candelabra which replace the finials. The two elements, French medieval and north Italian Quattrocento, stand clearly distinguishable, and yet the result is not discordant.

The photo shows the ambulatory.

The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late Gothic building, and internally the vaulting goes through every convolution known to Flamboyant builders, particularly in the Lady Chapel, which rises to double the height of the ambulatory. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.

On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracery. The pierced balustrade, however, is more fanciful, and the artist has given free rein to his imagination in the candelabra which replace the finials. The two elements, French medieval and north Italian Quattrocento, stand clearly distinguishable, and yet the result is not discordant.

The photo shows the ambulatory.

The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late Gothic building, and internally the vaulting goes through every convolution known to Flamboyant builders, particularly in the Lady Chapel, which rises to double the height of the ambulatory. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.

On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracery. The pierced balustrade, however, is more fanciful, and the artist has given free rein to his imagination in the candelabra which replace the finials. The two elements, French medieval and north Italian Quattrocento, stand clearly distinguishable, and yet the result is not discordant.

The photo shows the ambulatory.