The article examines R. Recht’s Le croire et le voir. L’art des cathé- drales (XIIe–XVe siècle) (1999), which has been recently translated into Russian. The author criticizes both the monograph and its translation and highlights the main weaknesses of Recht’s concept. He also discusses the controversy concerning this book in foreign historiography and raises some topical issues related to the latest research on Gothic art. Rastorguev considers dubious the idea of increasing visuality of the cathedral space, which is allegedly linked to the new rite of displaying the Host, because Recht ignores the late Romanesque architectural tradition. His “art of cathedrals” becomes a poorly credible artificial construct, in which scholarly fashion and somewhat hasty, superficial conclusions prevail over an actual analysis of architectural form. Perhaps that is why there are many mistakes in the specific description of the architectural monuments. This article draws on an extensive historiographical material, which confirms the dubiousness of Recht’s methods and conclusions. The reviewer’s special subject is the quality of the translation, which does not stand up to criticism with regard to terminology. While the architectural analysis requires impeccable accuracy of description (which the author himself lacks), the translator adds his own faults to the author’s errors. They can be checked against contemporary and older publications, as well as on the website mappinggothic.org containing invaluable visual resources. Furthermore, the illustrations in the Russian edition do not correspond to the original ones, and they are placed out of their proper position in the most important cases (for example, in the analysis of the cathedrals of Bourges and Chartres). To conclude, the question is raised as to what should be translated on Gothic architecture, if, of course, it is not translated in the way it is done in the book under review.

The article examines the latest trends in the historiography of medieval art in Russia using the example of E.A. Khripkova’s monograph on the basilica of the famous abbey of Saint-Denis in the north suburb of Paris. Published in 2013 the book differs from previous Russian-language works on early Gothic in France and beyond, namely the books by K.M. Muratova and E.P. Yuvalova, by much more scholarly independence and bright novelty of her concept. But unfortunately the author allows a very free interpretation of the iconography of Saint Denis portals, which are the main objects of her study. Thus, the title of the book — Abbot Suger’s Basilica of Saint-Denis — does not correspond to its content. This article indicates many arbitrary interpretations, inaccurate descriptions and bibliographic lacunae in this research. The interpretation of the main scene on the central portal, the Last Judgment in the tympanum, contains a number of iconographic conclusions which seem to be completely arbitrary, in particular the thoughts regarding the mandorla of the Saviour and communion of the apostles (in fact not existing). The same applies to the interpretation of the iconographic programme of the so-called Valois Portal. The search for textual sources to explain the narrative cycle of the portals of the western facade is not quite specific and consequently the search for the theological meaning of Suger’s design is very far from the real understanding of the Apocalypse and the Last Judgment in theology of his time, instead the author deals with general medieval Latin interpretations. The stylistic aspects of the monument, which are of the utmost importance for the further development of Early Gothic art in France, are completely ignored by Khripkova. As a result, this extensive work seems of little help. The article also examines the methodology of iconographic studies of the Middle Ages and draws conclusions as to the relation between text and image in the art of the mature Gothic Middle Ages