GOTHIC ARCHITECTURE

Early Gothic 1140 - 1194
High Gothic 1194 - 1300
Late Gothic 1300 -
Whereas Romanesque culture was still primarily rural Gothic culture is an urban culture. The cities of Europe are in a state of continuing revival that began during the Romanesque period.
During the Romanesque period the major religious centers are monasteries.
During the Gothic period cathedrals, the seats of local bishops, became great centers of education and political power.

It is during this time that Paris becomes the intellectual center of Europe.
A crusade and inquisition against perceived heresies in southern France served to create the unified kingdom of France as well as to confirm the absolute power of the Papacy.
The rise of the popularity of the Cult of the Virgin Mary leads to a new emphasis in the church on the role of Mary. She assumes a status equal to that of great female dieties of the past such as Isis, Demeter, Aphrodite and Hera. Prominent women such as Blanche of Castille (above) and Eleanor of Aquitane support literature and behavior that develops into the practice of "courtly love" and chivalry. As a result women assume a much more prominent role in society.

The Gothic style of architecture incorporates major advances in architecture:

• The combination of the pointed, or Gothic, arch and the rib vault leads
  to the ability to built higher vaults with more flexibility
• The development of the flying buttress leads to thinner and less massive walls
  

St. Denis, Paris

Nave of St. Denis looking toward the choir

In 1144 the royal abbey of St. Denis, outside Paris at this time, substantially remodeled by Abbot Suger (pronounced "soo zhay"), is rededicated.

St. Denis had the relics of St. Denis the Apostle of Gaul. It was also the burial place of the French kings.
Abbot Suger was a counselor to kings Louis VI & VII
- and served as regent when Louis VII went on crusade
At this time the French kings directly controlled only the Ile de France - they were not as powerful as the French dukes.
Suger wanted to make St. Denis a spiritual center and used his royal connections to accomplish this.

Abbot Suger substantially redesigned and remodeled the apse end of the abbey incorporating new ideas of vaulting - similar to the ribbed vaults we saw at St. Etienne and incorporating his own ideas regarding the spiritual nature of light.

At St. Denis, the radiating chapels rather than defining individual spaces (St. Sernin is a great example of this, go back and look at the floor plan) are integrated into one open, flowing space. This is integration of the various spaces is followed throughout the whole interior.

There is an emphasis on geometry, luminosity, and the harmony of the parts with the whole
The lightening of the structure allowed for larger stained glass windows to flood the interior with mystical light.

Whereas Romanesque buildings are defined by firmly grounded, solid masses, Gothic buildings are defined by space and their soaring verticality.

The Gothic style was seen as very modern and it spreads throughout Europe.
However, artists and writers of the Renaissance saw it as crude, bombastic, anti-classical

Suger rebuilt the east end of the church using the existing crypt (a vaulted space beneath a building) as the foundation
The design unifies the radiating chapels and the ambulatory with a single
structural system unlike the Romanesque system of creating discrete,
compartmentalized spaces
- the apse, chapels and ambulatory were all unified
- the supporting system of columns and arches was reduced in
mass

Generalized axometric section of a Gothic cathedral

Cross section through the structure of a Gothic cathedral

Suger was able to he did this by moving most of the support to the exterior,
This was able to be done by lightening the walls and directing the thrust of the arches through the buttresses
- using ribbed groin vaults and pointed arches
- this creates an open airy interior - but a massive exterior
- interior piers line up with exterior buttresses

Round arches are as high as they are wide - semi-circle
- giving a dome like effect - a smaller arch can’t have the same elevation as a larger one

Using the pointed arch space can flow together, more unified
- also the ability to use a larger clerestory
- and with the reduced walls/piers larger windows in the aisles

Anagogical window, St. Denis
Anagogy refers to an interpretation of scripture that goes beyond the literal meaning and indicates a higher, metaphysical, level of spiritual consciousness.
The light admitted by the stained glass was seen by Suger as "the light Divine"
- the true essence of God

Suger was influenced by the writings of a 5th c. mystic, St. Dionysius
- concerning the mystical, metaphysical properties of light
He wanted to develop architecture which emphasized these properties by allowing for greater window area
- a visible manifestation of God’s presence
- you can see it and feel it, but you can’t touch it
- Jesus as the light of the world
The use of stained glass is a metaphor
Holy Spirit --> Virgin Mary :: Light --> Glass
The glass transmutes the light creating a very otherworldly effect
- inviting contemplation and allowing the soul to come into union with the presence of God

CHARTRES CATHEDRAL 1194 - 1220

The Bishop of Chartres was a friend of Suger and incorporated his ideas into the rebuilding of Chartres cathedral which began in 1145
Chartres’ most venerated relic is the mantle of the Virgin

In 1193 there was a fire which destroyed all but the facade and the crypt
In 1194 rebuilding was begun, and completed in only 26 years
North tower built in 16th c.
Because of these stages of building Chartres shows an evolutionary process in the building from the Early Gothic western facade to the south portals built last.

An outstanding Web site on Chartres

Inside this outstanding site the glass windows

Check these out!

Chartres was the first church where flying buttresses were used integrally from the beginning of the design and building process

Chartres also begins a move to a more rectangular bay system with smaller, 4 part rib vaults
- this creates a more unifies appearance in the interior, a continuous
hall
Also, the choir and apse were enlarged into a chevet ("sh vay") and it is equal to, or larger in area than the nave itself

Chartres plan

The plan shows a fluid, unified space, unlike the compartmentalized interiors of Romanesque churches

Nave
The interior elevation is simplified from the Early Gothic four part elevation
Early Gothic -nave arcade - gallery - triforium - clerestory
High Gothic- three part elevation
- eliminating the gallery and enlarging the clerestory

The nave arcade is 40’ high
The triforium is 20’ high
The clerestory is 40’ high

North Transept Rose Window
Rose window is 42’ in dia.
In the center Mary and infant Christ enthroned. The surrounding panels all number twelve:
1st set - four doves and eight angels
2nd set -  squares - twelve old testament kings - precursors to Christ
- quatrefoils gold lilies on blue field
- symbol of French kings
- outer circle - old testament prophets (-->apostles)
Lancets
- St. Anne and baby Mary
- 2 old testament prophets
- King David & King Solomon
Small windows between are
royal coats of arms - proclaim the divine right to rule of the French kings

Tree of Jesse Window	Noah Window

CHARTRES: The Western Portals

Facade is Early Gothic 1140-1150.
Base of north tower 1134
South tower 1142
Portals c. 1145-50,
Preserved from the fire of 1194
- reinstalled in a new location on a level with the front of the existing towers, also preserved from the 1194 fire.
Rose Window early 13th century
North spire 1507-13 (by Jehan de Beauce)
Figures are well integrated with the architecture and they also stand as individuals
- an innovation of Suger
Representing the kings, queens and prophets of the Old Testament
- during the French Revolution the jamb statues of St. Denis and
the Cathedral of Paris were destroyed because people thought
they were the kings and queens of France

Center Portal & Tympanum
Tympanum: Christ enthroned as judge and ruler of the universe w/ four evangelists
Lintel: 12 standing apostles and two extra figure probably Elijah and Enoch
Voussiors: 24 seated elders holding musical instruments: Old Testament prophets
Capitals: Life of Christ

North Portal & Tympanum

Tympanum: timeless heavenly Christ ascendant in a cloud held by two angels.
Different scholars offer different interpretations:
-Ascension of Christ,-Christ as Creator of the universe, Christ's Second Coming
Lintel: 12 seated apostles
Voussoirs: Labors of the months and signs of the Zodiac
Capitals: Christ's childhood
Jambs: Old Testament kings, queens, and prophets, not individually identifiable

South Portal & Tympanum (click on the image for a closer view)
Tympanum: The Virgin and Child enthroned (Throne of Wisdom
or Sedes Sapientiae) between by two angels
Upper lintel: Presentation of Christ in the Temple
Lower lintel : Infancy of Christ: Annunciation, Visitation,
Nativity, Annunciation to the Shepherds
Voussiors and Jambs: Old Testament kings, queens, prophets, not individually identifiable

Jamb Statues Old testament prophets
Compare with Jeremiah fr. Moissac
- There is a re-awakened interest in the naturalistic depiction of the
figure
- still elongated but calmer
- standing on platforms, feet don’t dangle
- drapery is a pattern but shows some logic
- Jeremiah is embedded in the stone Chartres figures stand out
- And a unifying scheme to sculptural programs which include
symbols and figures from other realms of medieval writing, not just
theological
- the figures interact with each other

St. Theodore fr. South transept portal

Notre Dame de Paris

Notre Dame, Paris, view fr. south
1163 - 1250

Notre Dame has an interesting combination of Early and Late Gothic characteristics.

During construction chapels were added between the buttresses

AMIENS CATHEDRAL

Amiens cathedral was begun in 1220
- nave was finished in 1236
South tower dates from 14th c. - north tower from 15th c.
The portals correspond directly to the interior spaces behind them
- also in elevation the facade corresponds to the interior
- portals -> nave - small arches and kings -> triforium
- rose window -> clerestory
Very rich surface decoration
- many openings and colenettes, arches and pinnacles

Amiens South transept and choir, note the elegant flying buttresses, click here for a closer view

Looking west in the nave of Amiens	Looking east in the nave of Amiens

View of the choir and its vaults. The vaults are 144’ in height.

THE RAYONNANT STYLE

North Transept Rose Window
1240 - 1250, 43' diameter

The large amounts of tracery that are integral to the design of this rose window from Notre Dame are representative of the Rayonnant ("radiant") Style of stained glass. The style was rich and opulent in its design and was associated with the royal court. There was an emphasis on more and lighter tracery
The North Rose Window of Notre Dame was described as a "multi-foliate rose of light"
At the center is Mary as mother of Christ
- 32 Old Testament Kings
- 32 high priests and patriarchs
Predominant color of the window is blue, color of the northern sky and of Mary’s mantle as Queen of the Heavens

Ste. Chapelle
1243 - 1248

St. Chapelle was designed as a repository of the relics of Christ brought back by Saint Louis
after the 6th Crusade. The exterior was designed to resemble a reliquary.
The interior looks as if one were inside a jewel box.
More than 3/4 of the structure is stained glass the whole experience is one of many slender and linear forms