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Prompted by the recent discovery of an impressive three meter tall late Gothic drawing of a soaring tower and spire, this book offers a rare insight into the processes of designing and building a major gothic project. The drawing s place and date of creation are unknown, and it corresponds to no surviving Gothic tower. Equally mysterious is the three-quarter, top-down perspective from which the tower is represented, without parallel in any other medieval drawings. Who drew this? When? And what did he hope to convey with his choice of a top-down representation of the tower? Building a Crossing Tower explores these questions, and uncovers the dramatic circumstances in which this drawing was created. The first part of the book links the drawing to an early 16th-century building project in the city of Rouen in Normandy, France. Rouen was then a thriving port, one of the most populous cities in France, and a vibrant construction site, where dazzling, flamboyant creations were erected side by side with Renaissance buildings. At the center of this intense building activity was Roulland le Roux, the city s leading master mason, most likely the author of the newly discovered drawing. Given the scarcity of French gothic drawing, the discovery of this impressive piece and its attribution to a known artist are significant events in themselves. Moreover, in this exceptional case it is also possible to recreate the social context of the drawing s production, explored in the second part of the book. Previously unpublished minutes of the cathedral chapter reveal that the drawing was realized following the dramatic fire which destroyed the cathedral s crossing tower in 1514. The fire sparked fierce disputes among the cathedral s canons, who divided into two factions: one hoping to see the crossing tower reconstructed in stone, the other lobbying for a safer and cheaper wooden spire. The differences between the two parties and the changing fortunes of artists employed in the reconstr
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