De la Riestra’s main thesis, in fact, is that German late Gothic designers revolted deliberately against the conventions of French Gothic design. His book thus incorporates many opposing photos like the pair below, contrasting the craggy forms of Beauvais Cathedral, at left, with the smoother and boxier outlines of Sankt Severi in Erfurt, at right. Since De la Riestra prefers the latter mode, he celebrates the emancipation of Late Gothic designers from thirteenth-century convention much as Sanfacon had, while adding a contrast of national traditions unseen in Sanfacon’s work on France. In the past two decades I have enjoyed many conversations with Kavaler and De la Riestra, whose work I greatly admire. None of the books on late Gothic that I have read, however, really addressed the questions that I wanted to answer, so I decided to write my own.