Word: gothicized
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...fortunes of Zoutleeuw rose, so did the rate of commissions-and the burghers' desire to see themselves echoed, if not specifically portrayed, in their altarpieces. A 15th century triptych carved in oak, probably by a sculptor from Louvain, retains some of the hieratic frontality of Gothic art in its left-hand figure, St. Catherine; but Mary, in the center, decorously extends her hand to her child, whose eager little arm is poking over the edge of the strict Gothic frame, while St. Joseph, with purse, rich robes and amply confident gestures, is already a Flemish businessman...
...15th century, a work like Zoutleeuw's carving of St. Anne and the Virgin seems archaic, even naive. But it is a stunning design, the deeply cut folds, strict as metal, building up a system of pyramids that finishes in the smooth, serene, Gothic arch of St. Anne's wimple. By the 16th century the church was commissioning more elaborately naturalistic works. There is still a trace of Gothic rigor in the sweeping cloak of its lindenwood Mary Magdalene, but in all other respects she is almost a portrait, down to the look of pleased anticipation...
...younger drive-in crowd (the bulk of the horror market in the U.S.) with more fad-conscious pictures like Was a Teenage Werewolf. Out of respect for the Karloff-Chaney-Lugosi classics of the 1930s, Sir James would never permit a Vincent Price to camp up the Gothic genre. While piling up its $100 million-plus grosses over the years, Hammer has been able to attract-if not get the best out of-such expert directors as Joseph Losey, Guy Green...
...knows what would have become of her if her grandmother, surveying the Gothic shambles at Oak Terrace, had not shipped her off to an English boarding school in 1899. Miraculously, it was an enlightened place in which Eleanor blossomed. She excelled at studies, developed poise, and made the joyous discovery that the very traits that bored her family-candor, compassion, energy, an aversion to sham -could be highly valued...
...Wouk's best inventions is a series of chapters excerpted from a book by Armin von Roon, an imaginary member of the German General Staff. By turns Gothic and grotesque, or possessed of flashing geopolitical insight, Von Roon provocatively fills in the military and strategic history (Poland, Norway, France, Russia) in ways well calculated to stir indignation or imagination in American readers, who have a provincial tendency to think the war was really won or lost in Western Europe. Von Roon is most handy, indeed, in helping Wouk surmount one of the great problems posed by a book...