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When cathedrals were bright with paint... colonnettes, gables, pinnacles and statues were rich in colour. Red, blue and yellow helped the viewer to identify the holy figures and to decipher the great book of stone. The largest medieval drawing in existence, measuring more than four metres in height, provides exceptional evidence for this. Dating from c.1360-65, it represents the central part of the façade of Strasbourg Cathedral. Even now the great cathedrals of the Middle Ages overwhelm by their imagination, technical daring and sheer scale. How could such structures be built when cities had only a few thousand inhabitants, and only the most primitive machinery was available? Who initiated them? Who designed them? Who paid for them? All around the world but especially in Italy and in Gaul, each Christian community was driven by a spirit of rivalry to have a more glorious church than the others. Gothic and Romanesque building sites are shown in detail in manuscript illumination. As the Medieval town grew, buildings turned from wood to stone and grew ever higher. Patrons sought master masons, intellectuals became administrators, artists and architects established their independence and rights. Discover tracings on stone such as in the sacristy of the Roslin Chapel in Scotland where construction began in 1450, remarkable drawings from workshops, organised guilds, the octagon of Ely Cathedral 1322 and how metal became an essential material. Fully documented and splendidly illustrated throughout in colour, 176pp, paperback.