On the other hand, they differ in what concerns theory . 20th century architect sometimes writes to explain his creation, while the medieval master uses nothing but recipes. We will also deal with this aspect. In the case of medieval cathedrals there are purely narrative articulations, full of obvious meanings. Sculptural representations of men and beasts in rounde bosse and bas-relief cover not only gables and frises but also medallions, corniches, capitals.
Nothing remains shapeless or without adornment.
Forms surpass the idea, drown it. Horror vacui, fear of emptiness, of vacuum is reigning. Emptiness is desired, horror vacui becomes amor vacui. Sculptors aided their preacher fellows, if they did not project their own fears. The propensity of the artists decorating every architectural element and this semantic richness is in itself terrifying, is for tragic or fearful subjects like the representations of the ordeals destined to sinners in inferno.