Chartres Cathedral (Part Seven).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: A sunlit Chartres Cathedral.

Français: Cathédrale de Chartres, avec la gare 

de le même ville, éclairage de coucher de soleil.

Photo: 21 January 2012.

Source: Own work.

Author: Ireneed.

(Wikimedia Commons)

English: Chartres Cathedral.

The Nave Ceiling.

Français: Cathédrale Notre-Dame de Chartres.

Voûte de la nef.

Photo: 24 March 2012.

Source: Own work.

Author: MMensler.

(Wikimedia Commons)

The Central Portal is a more conventional representation of the End of Time, as described in the Book of Revelation. In the centre of the Tympanum, is Christ within a mandorla, surrounded by the four symbols of the Evangelists (the Tetramorph). The Lintel shows the Twelve Apostles, while the Archivolts show the twenty-four Elders of the Apocalypse.

Although the upper parts of the three Portals are treated separately, two sculptural elements run horizontally across the Façade, uniting its different parts. Most obvious are the jamb Statues, affixed to the Columns flanking the Doorways – tall, slender, standing figures of Kings and Queens, from whom the Portail Royal derived its name.

Although, in the 18th- and 19th-Century, these figures were mistakenly identified as the Merovingian Monarchs of France (thus attracting the opprobrium of Revolutionary iconoclasts), they almost certainly represent the Kings and Queens of the Old Testament – another standard iconographic feature of Gothic Portals.

Christ in Majesty

shown within a Mandorla shape

in a Mediaeval illuminated manuscript.

This Mandorla image appears in the centre

of the Tympanum of the

Central Portal of Chartres Cathedral.

Evangelistar von Speyer, um 1220

Manuscript in the Badische Landesbibliothek, 

Karlsruhe, Germany Cod. Bruchsal 1, Bl. 1v

Shows Christ in vesica shape surrounded by 

the "animal" symbols of the four evangelists.

Date: Circa 1220.

Source: http://www.blb-karlsruhe.de/.

This file has been extracted from another image: 

File:Codex Bruchsal 1 01v.jpg.

This File: 1 October 2006.

User: AnonMoos.

Author: Mediaeval.

(Wikimedia Commons)

Less obvious than the jamb Statues, but far more intricately carved, is the Frieze that stretches all across the Façade in the sculpted Capitals on top of the jamb Columns. Carved into these Capitals is a very lengthy narrative depicting the Life of The Virgin and the Life and Passion of Christ.

The Te Deum.

As per the recent Post on Rievaulx Abbey, 

Zephyrinus respectfully suggests listening to 

this YouTube offering, whilst perusing the 

photographs, herewith, of Chartres Cathedral.

Be aware that this Te Deum would have been sung on 

many occasions at Chartres Cathedral over the centuries.

Available on YouTube at

http://youtu.be/sqwV9l-U8ds.

In Northern Europe, it is common for the iconography on the North Side of a Church to focus on Old Testament themes, with stories from the Lives of the Saints and the Gospels being more prominent on the physically (and, hence, spiritually) brighter Southern Side. Chartres is no exception to this general principle and the North Transept Portals, with their deep sheltering Porches, concentrate on the precursors of Christ, leading up to the moment of his Incarnation, with a particular emphasis on The Virgin Mary.

The overall iconographic themes are clearly laid-out; the veneration of Mary in the centre, the Incarnation of Her Son on the left and Old Testament pre-figurations and prophecies on the right. One major exception to this scheme is the presence of large Statues of Saint Modesta (a local Martyr) and Saint Potentian on the North-West corner of the Porch, close to a small doorway where Pilgrims, visiting the Crypt (where the Relics were stored), would once have emerged, blinking into the light.

English: Gothic Statues in the Portail Royal.

Français: Portail central du porche occidental de la cathédrale de Chartres.

Photo: 18 June 2006.

Source: Own work.

Author: Urban.

(Wikimedia Commons)

Català: La Catedral de la nostra Senyora de Chartres (França).

Česky: Katedrála Notre-Dame v Chartres (Francie).

Deutsch: Die Kathedrale Notre-Dame-de-Chartres in Chartres (Frankreich).

English: Chevet of Chartres Cathedral in Chartres (France).

Español: Exterior del ábside de la Catedral de la Asunción de Nuestra Señora de Chartres (Francia).

Français: Chevet de la Cathédrale Notre-Dame de Chartres à Chartres (France).

Italiano: L'esterno dell'abside della cattedrale Notre-Dame de Chartres a Chartres (Francia).

Slovenčina: Katedrála Notre-Dame v Chartres (Francúzsko).

Photo: 15 July 2008.

Source: Own work.

Author: Harmonia Amanda.

(Wikimedia Commons)

As well as the main sculptural areas around the Portals, the deep Porches are filled with myriad other carvings, depicting a range of subjects, including local Saints, Old Testament narratives, naturalistic foliage, fantastical beasts, Labours of the Months and personifications of the 'active and contemplative lives' (the vita activa and vita contemplativa). The personifications of the vita activa (directly overhead, just inside the left-hand Porch) are of particular interest, for their meticulous depictions of the various stages in the preparation of flax – an important cash-crop in the area during the Middle Ages.

English: Chartres Cathedral of Notre-Dame.

The North Rose Window and Portals.

Français: Cathédrale Notre-Dame de Chartres. 

Rose Nord et Portail.

Photo: 14 January 2012.

Source: Own work.

Author: MMensler.

(Wikimedia Commons)

English: The Flying Buttresses of the Nave of Chartres Cathedral.

Français: Les arcs-boutants de la nef de la Cathédrale Notre-Dame de Chartres.

Photo: 7 February 2009.

Source: Own work.

Author: Florestan.

(Wikimedia Commons)

If the North Transept Portals are all about the time leading up to Christ's Incarnation, and the West Façade is about the events of His life and Passion, then the iconography of the South Transept Portals addresses the time from Christ's death until His Second Coming. The Central Portal concentrates on the Last Judgement and the Apostles, the Left Portal on the Lives of Martyrs, and the Right Portal on Confessor Saints (an arrangement also reflected in the windows of the Apse).

Just like their Northern counterparts, the South Transept Portals open into deep Porches, which greatly extend the space available for sculptural embellishment. A large number of subsidiary scenes depict conventional themes, like the Labours of the Months and the Signs of the Zodiac, personifications of the Virtues and Vices, and, also, further scenes from the Lives of the Martyrs (Left Porch) and Confessors (Right Porch).

Chartres Cathedral.

Available on YouTube at

http://youtu.be/x01IhYnZWZY

In the Middle Ages, the Cathedral also functioned as an important Cathedral School. In the Early-11th-Century, Bishop Fulbert established Chartres as one of the leading Schools in Europe. Although the role of Fulbert, as a scholar and teacher, has been questioned, perhaps his greatest talent was as an administrator, who established the conditions in which the School could flourish, as well as laying the foundations for the rebuilding of the Cathedral after the fire of 1020.

Français: Cathédrale Notre-Dame de Chartres, Eure-et-Loir, Centre, France. 

La chapelle Saint Cœur de Marie.

English: Chartres Cathedral, Eure-et-Loir, Centre, France. 

The Chapel of the Immaculate Heart of Mary.

Photo: 28 September 2008.

Source: Own work.

Author: Tango7174.

(Wikimedia Commons)

Great scholars were attracted to the Cathedral School, including Thierry of Chartres, William of Conches, and the Englishman, John of Salisbury. These men were at the forefront of the intense intellectual rethinking, that culminated in what is now known as the 12th-Century Renaissance, pioneering the Scholastic philosophy that came to dominate Mediaeval thinking throughout Europe.

By the Early-12th-Century, the status of the School of Chartres was on the wane. It was gradually eclipsed by the newly-emerging University of Paris, particularly at the School of the Abbey of Saint Victoire (the 'Victorines'). By the middle of the century, the importance of Chartres Cathedral had begun to shift away from education and towards pilgrimage, a changing emphasis reflected in the subsequent architectural developments.

La Cathedrale De Chartres.

Available on YouTube at

http://youtu.be/gKfMr1JXt2Q.

Orson Welles famously used Chartres as a visual backdrop and inspiration for a montage sequence in his film, F For Fake. Welles’ semi-autobiographical narration spoke to the power of art in culture and how the work may be more important than the identity of its creators. 

Feeling that the beauty of Chartres, and its unknown artisans and architects, epitomised this sentiment, Welles, standing outside the Cathedral and looking at it, eulogises: "Now this has been standing here for centuries. The premier work of man perhaps in the whole Western World and it’s without a signature: Chartres.

Chartres Cathedral. 

The Clerestory and Flying Buttresses.

Photo: August 2006.

Source: http://de.wikipedia.org/wiki/Bild:Strebewerk.jpg.

Author: BT from German Wikipedia.

(Wikimedia Commons)

"A celebration to God’s glory and to the dignity of man. All that’s left, most artists seem to feel these days, is man. Naked, poor, forked, radish. There aren't any celebrations. Ours, the scientists keep telling us, is a universe, which is disposable. You know it might be just this one anonymous glory of all things, this rich stone forest, this epic chant, this gaiety, this grand choiring shout of affirmation, which we choose when all our cities are dust, to stand intact, to mark where we have been, to testify to what we had in us, to accomplish.

English: Chartres Cathedral at night.

Français: France Eure-et-Loir Chartres Cathédrale vue nocturne. 

Photographie prise par GIRAUD Patrick.

Source: GIRAUD Patrick.

Author: GIRAUD Patrick.

(Wikimedia Commons)

Français: Cathédrale Notre-Dame de Chartres, 

Eure-et-Loir, Centre, France. La façade nord.

English: Chartres Cathedral, Eure-et-Loir, 

Centre, France. The North Façade.

Photo: 27 September 2008.

Source: Own work.

Author: Tango7174.

(Wikimedia Commons)

"Our works in stone, in paint, in print are spared, some of them for a few decades, or a millennium or two, but everything must finally fall in war or wear away into the ultimate and universal ash. The triumphs and the frauds, the treasures and the fakes. A fact of life. We’re going to die. “Be of good heart,” cry the dead artists out of the living past. Our songs will all be silenced – but what of it? Go on singing. Maybe a man’s name doesn't matter all that much". (Church bells peal . . .)

Joseph Campbell references his spiritual experience in The Power of Myth: "I'm back in the Middle Ages. I'm back in the world that I was brought up in as a child, the Roman Catholic spiritual-image world, and it is magnificent . . . That Cathedral talks to me about the spiritual information of the world. It's a place for meditation, just walking around, just sitting, just looking at those beautiful things".

English: Chartres Cathedral against the sun.

Français: coucher de soleil sur la cathedrale de Chartres.

Photo: 10 April 2010.

Source: Own work.

Author: Pauden28.

(Wikimedia Commons)

Joris-Karl Huysmans includes detailed interpretation of the symbolism underlying the art of Chartres Cathedral in his 1898 semi-autobiographical novel, La cathédrale.

Chartres was the primary basis for the fictional Cathedral in David Macaulay's "Cathedral: The Story of Its Construction", and the animated special based on this book.

Chartres was a major character in the religious thriller, "Gospel Truths", by J. G. Sandom. The book used the Cathedral's Architecture and History as clues in the search for a lost Gospel.

Chartres Cathedral,

from the South-East.

Photo: 2005.

Source: Own work.

Author: User:TTaylor.

(Wikimedia Commons)

Cathédrale Notre-Dame de Chartres from the South.

A masterpiece of Gothic Architecture.

Date: 25 August 2005.

Source: http://de.wikipedia.org/wiki/Bild:Chartres_cathedral.jpg.

Author: http://de.wikipedia.org/wiki/Benutzer:Honge , 25/8/2005.

(Wikimedia Commons)

The Cathedral is featured in the television travel series, "The Naked Pilgrim"; presenter Brian Sewell explores the Cathedral and discusses its famous relic – the Nativity Cloak, said to have been worn by The Virgin Mary.

Popular action-adventure video game "Assassin's Creed" features a climbable Cathedral modelled heavily on Chartres Cathedral.

One of the attractions at Chartres Cathedral is the Chartres Light Celebration, when, not only is the Cathedral lit, but so are many buildings throughout the town, as a celebration of electrification.

THIS CONCLUDES THE ARTICLE ON CHARTRES CATHEDRAL.

Chartres Cathedral (Part Six).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: The Vendôme Chapel Stained Glass Windows

in Chartres Cathedral.

Français: Cathédrale de Chartres - 

Vitraux de la chapelle Vendôme.

Photo: August 2010.

Source: Own work.

Author: MOSSOT.

(Wikimedia Commons)

On the whole, Chartres' windows have been remarkably fortunate. The Mediaeval glass largely escaped harm during the Huguenot iconoclasm and the religious wars of the 16th-Century, although the West Rose sustained damage from artillery fire in 1591. The relative darkness of the Interior seems to have been a problem for some. A few windows were replaced with much lighter grisaille glass, in the 14th-Century, to improve illumination, particularly on the North Side, and several more were replaced with clear glass in 1753, as part of the reforms to Liturgical practice that also led to the removal of the jubé.

The installation of the Vendôme Chapel, between two Buttresses of the Nave, in the Early-15th-Century, resulted in the loss of one more Lancet Window, though it did allow for the insertion of a fine Late-Gothic Window, with donor portraits of Louis de Bourbon and his family witnessing the Coronation of the Virgin with assorted Saints.

Although estimates vary (depending on how one counts compound- or grouped-windows), approximately 152 of the original 176 Stained Glass windows survive – far more than any other Mediaeval Cathedral anywhere in the world.

English: The Central Portal in the West Facade at Chartres Cathedral.

Français: Portail central du porche occidental de la cathédrale de Chartres.

Photo: 18 June 2006.

Source: Own work.

Author: Urban.

(Wikimedia Commons)

Like most Mediaeval buildings, the windows at Chartres suffered badly from the corrosive effects of atmospheric acids during the Industrial Revolution, and subsequently. The majority of windows were cleaned and restored by the famous local workshop, Atelier Lorin, at the end of the 19th-Century, but they continued to deteriorate. 

During World War II, most of the Stained Glass was removed from the Cathedral, and stored in the surrounding countryside, to protect it from damage. At the close of the War, the windows were taken out of storage and re-installed. Since then, an on-going programme of conservation has been underway and isothermal secondary glazing is gradually been installed on the exterior to protect the windows from further damage.

The Cathedral has three great Façades, each equipped with three Portals, opening into the Nave from the West and into the Transepts from North and South. In each Façade, the Central Portal is particularly large and was only used for special ceremonies, while the smaller Side Portals allowed everyday access for the different communities that used the Cathedral.

English: The South Elevation of Chartres Cathedral.

Français/Deutsch: Monographie de la cathédrale de Chartres. 

Atlas / Gestochen von E. Ollivier gezeichnet von Lassus, Gedruckt bei Bougeard.

Date: Paris, Imprimerie impériale, 1867.

Source: Monographie de la Cathédrale de Chartres - Atlas.

Author: Jean-Baptiste-Antoine Lassus (1807–1857).

Scan and Post-Processing by Hubertl.

(Wikimedia Commons)

One of the few elements to survive from the Mid-12th-Century Church, the Portail Royal, was integrated into the new Cathedral, built after the 1194 fire. Opening onto the parvis (the large Square in front of the Cathedral where Markets were held), the two Lateral Doors would have been the first entry point for most visitors to Chartres, as it remains today. The Central Door was only opened for the entry of processions on major Festivals, of which the most important was the Adventus, or Installation, of a new Bishop. 

The harmonious appearance of the Façade, results, in part, from the relative proportions of the Central and Lateral Portals, whose widths are in the ratio 10:7 – one of the common Mediaeval approximations of the Square Root of 2.

As well as their basic functions of controlling access to the Interior, Portals were the main locations for sculpted images on the Gothic Cathedral, and it was on the West Façade, at Chartres, that this practice began to develop into a visual summa or encyclopaedia of theological knowledge. The three Portals each focus on a different aspect of Christ's role: His Earthly Incarnation, on the right Portal; His Second Coming, on the left Portal; and His Eternal Aspect, in the centre Portal.

Judgment Day Decoded: 

The Sacred Geometry of Chartres Cathedral.

Video available on YouTube at

http://youtu.be/MIo8ILX7ax0.

Above the right Portal, the Lintel is carved in two Registers, with, (lower) the Annunciation, Visitation, Nativity, Annunciation to the Shepherds and (upper) the Presentation in the Temple. Above this, the Tympanum shows the Virgin and Child enthroned in the Sedes sapientiae pose. 

Surrounding the Tympanum, as a reminder of the glory days of the School of Chartres, the Archivolts are carved with some very distinctive personifications of the Seven Liberal Arts, as well as the classical authors and philosophers most associated with them.

The final portion of Maurice Duruflé's "Prelude, Adagio & Choral Varié" 

on the Latin Hymn "Veni Creator".

Philippe Lefebvre performs on the instrument, installed in 1971, 

in a recording made ten years after the installation.

Available on YouTube at

http://youtu.be/R9m60BzjqI0.

The left Portal is more enigmatic, and art historians still argue over the correct identification. The Tympanum shows Christ standing on a cloud, apparently supported by two Angels. Some see this as a depiction of the Ascension of Christ (in which case the figures on the lower Lintel would represent the Disciples witnessing the event), while others see it as representing the Parousia, or Second Coming of Christ (in which case the Lintel figures could be either the Prophets, who foresaw that event, or else the 'Men of Galilee', mentioned in Acts 1:9-11). 

The presence of Angels in the upper Lintel, descending from a cloud and apparently shouting to those below, would seem to support the latter interpretation. The Archivolts contain the signs of the zodiac and the labours of the months – standard references to the cyclical nature of time, which appear in many Gothic Portals.

PART SEVEN FOLLOWS.

Chartres Cathedral (Part Five).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: The Western Rose Window of Chartres Cathedral, France.

Français: La rosace ouest de la Cathédrale Notre-Dame de Chartres, France.

Photo: 7 February 2009.

Source: Own work.

Author: This photo was taken by Eusebius (Guillaume Piolle).

Attribution: © Guillaume Piolle / CC-BY-3.0.

(Wikimedia Commons)

Each Bay of the Aisles and the Choir Ambulatory contains one large Lancet Window, most of them roughly 8.1m high by 2.2m wide. The subjects depicted in these windows, made between 1205 and 1235, include stories from the Old and New Testament and the Lives of the Saints, as well as typological cycles and symbolic images, such as the signs of the zodiac and labours of the months. Most windows are made up of around 25 – 30 individual panels showing distinct episodes within the narrative – only the Belle Verrière includes a larger image made up of multiple panels.

Several of the windows at Chartres include images of local tradesmen or labourers in the lowest two or three panels, often with fascinating details of their equipment and working methods. Traditionally, it was claimed that these images represented the Guilds of the donors who paid for the windows. In recent years, however, this view has largely been discounted, not least because each window would have cost around as much as a large mansion house to make – while most of the labourers depicted would have been subsistence workers with little or no disposable income.

Furthermore, although they became powerful and wealthy organisations in the Later-Mediaeval period, none of these Trade Guilds had actually been founded when the glass was being made in the early 13th-Century. A more likely explanation is that the Cathedral Clergy wanted to emphasise the universal reach of the Church, particularly at a time when their relationship with the local community was often a troubled one.

English: Chartres Cathedral. Rose Window in the South Transept.

Français: Cathédrale de Chartres - Transept Sud - Rose et verrières de la façade.

Photo: August 2010.

Source: Own work.

Author: MOSSOT.

(Wikimedia Commons)

Because of their greater distance from the viewer, the windows in the Clerestory generally adopt simpler, bolder designs. Most feature the standing figure of a Saint or Apostle in the upper two-thirds, often with one or two simplified narrative scenes in the lower part, either to help identify the figure or else to remind the viewer of some key event in their life.

Whereas the lower windows, in the Nave Arcades and the Ambulatory, consist of one simple Lancet per Bay, the Clerestory windows are each made up of a pair of Lancets with a plate-traceried Rose Window, above. The Nave and Transept Clerestory windows mainly depict Saints and Old Testament Prophets. Those in the Choir, depict the Kings of France and Castile and members of the local nobility, in the straight Bays, while the windows in the Apse hemi-cycle show those Old Testament Prophets who foresaw the Virgin Birth, flanking scenes of the Annunciation, Visitation and Nativity, in the Axial Window.

North Transept Rose Window. Circa 1235.

English: Northern Rose Window of Chartres Cathedral. The Rose depicts the Glorification of the Virgin Mary, surrounded by Angels, twelve Kings of Juda (David, Solomon, Abijam, Jehoshaphat, Uzziah, Ahaz, Manasseh, Hezechiah, Jehoiakim, Jehoram, Asa et Rehoboam) and the twelve Lesser Prophets (Hosea, Amos, Jonah, Nahum, Zephaniah, Zechariah, Malachi, Haggai, Habakkuk, Micah, Obadiah and Joel). Below, the Arms of France and Castile (the window was offered by Blanche of Castile).

The five Lancets represent Saint Anne, Mother of The Virgin, surrounded by the Kings Melchizedek, David, Solomon and Aaron, treading the sinner and idolatrous Kings: Nebuchadnezzar, Saul, Jeroboam and Pharaoh.

Français: Rosace nord de la Cathédrale Notre-Dame de Chartres. La rosace dépeint la Glorification de la Vierge, entourée des anges, de douze rois de Juda (David, Salomon, Abijam (Abia), Josaphat (Iosapht), Azarias (Ozias), Achaz (Acaz), Manassé (Mahases), Ézéchias, Joachim (Ioatam), Joram (Ioram), Asa et Roboam) et des douze petits prophètes (Osée (Oseas), Amos, Jonas, Nahum (Naum), Sophonie (Sephonias), Zacharie, Malachie (Malacias), Aggée (Ageus), Habacuc (Abbacuc), Michée (Micheas), Abdias et Joël (Iohel)). En-dessous, les armes de France et de Castille (la rosace a été offerte par Blanche de Castille). Les cinq lancettes représentent Sainte Anne, mère de la Vierge, entourée des rois Melchisedech, David, Salomon et d'Aaron, foulant les rois pécheurs et idolâtres : Nabuchodonosor, Saül, Jéroboam et Pharaon.

Photo: 7 February 2009.

Source: Own work.

Author: This photo was taken by Eusebius (Guillaume Piolle).

Attribution: © Guillaume Piolle / CC-BY-3.0.

(Wikimedia Commons)

The Cathedral has three large Rose Windows:

The Western Rose Window, made circa 1215, and twelve metres in diameter, shows the Last Judgement – a traditional theme for West Façades. A central oculus, showing Christ as the Judge, is surrounded by an inner ring of twelve paired roundels, containing Angels and the Elders of the Apocalypse, and an outer ring of twelve roundels, showing the dead emerging from their tombs and the Angels blowing trumpets to summon them to judgement;

The North Transept Rose Window (10.5 m diameter, made circa 1235), like much of the sculpture in the North Porch beneath it, is dedicated to the Virgin. The central oculus shows the Virgin and Child and is surrounded by twelve small petal-shaped windows, four with doves (the 'Four Gifts of the Spirit'), the rest with adoring Angels carrying candlesticks. Beyond this is a ring of twelve diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller Lozenges containing the Arms of France and Castile, and, finally, a ring of semi-circles containing Old Testament Prophets holding scrolls.

The presence of the Arms of the French King (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the Rose, itself, are five tall Lancet Windows (7.5 metres high) showing, in the centre, the Virgin, as an infant, held by her mother, Saint Anne – the same subject as the trumeau in the Portal beneath it. Flanking this Lancet are four more, containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy, depicted in the base of the Lancet, beneath them – David over Saul, Aaron over Pharaoh, Saint Anne over Synagoga, etc;

North Porch of Chartres Cathedral.

Photo: 31 August 2007.

Source: Own work.

Reference: 2007/4/3691.

Author: Andreas F. Borchert.

(Wikimedia Commons)

The South Transept Rose Window (10.5 metres diameter, made circa 1225–30) is dedicated to Christ, Who is shown in the central oculus, right hand raised in benediction, surrounded by adoring Angels. Two outer rings of twelve circles each contain the twenty-four Elders of the Apocalypse, crowned and carrying phials and musical instruments. 

The central Lancet, beneath the Rose Window, shows the Virgin carrying the infant Christ. Either side of this, are four Lancets showing the four Evangelists, sitting on the shoulders of four Prophets – a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their Arms in the bases of the Lancets.

The Rose Window
In Gothic Architecture.
Available on YouTube at
http://youtu.be/pCLF4WivmZw.

PART SIX FOLLOWS.

Chartres Cathedral (Part Four).

Text and Illustration from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: Chartres Cathedral. Stained-Glass Window of the Vendome Chapel, circa 1415.

Français: Cathédrale de Chartres - Vitraux de la chapelle Vendôme.

Photo: August 2010.

Source: Own work.

Author: MOSSOT.

(Wikimedia Commons)

In the last decade, the fabric of the Cathedral has seen an almost continuous programme of cleaning and restoration. In recent years, a major project has been underway to clean all the Stone Vaults of the Choir and Nave and repaint them in emulation of the 13th-Century polychromy.

The Cathedral is still the Seat of the Bishop of Chartres, of the Diocese of Chartres, though in the Ecclesiastical Province of Tours.

The Plan is Cruciform. A Two-Bay Narthex, at the Western End, opens into a Seven-Bay Nave, leading to The Crossing, from which wide Transepts extend Three Bays each to North and South. East of The Crossing are four rectangular Bays, terminating in a semi-circular Apse. 

The Nave and Transepts are flanked by Single Aisles, broadening to a Double-Aisled Ambulatory around the Choir and Apse. From the Ambulatory, radiate three deep semi-circular Chapels (overlying the deep Chapels of Fulbert's 11th-Century Crypt) and four much shallower ones. Of the latter, one was effectively lost in the 1320s, when the Chapel of Saint Piat was built.

Deutsch: Wandfläche mit Triforium.

English: Three tiers of wall structure of Chartres Cathedral: 

Arcade; Triforium; Clerestory (with 2 windows united by a small, round, Rosette window).

Photo: August 2006.

Source: http://de.wikipedia.org/wiki/Bild:Triforium_Chartres.jpg.

Author: BjörnT, BT from German Wikipedia.

(Wikimedia Commons)

The elevation of the Nave is Three-Storeyed, with Arcade, Triforium and Clerestory levels. By eschewing the Gallery level, that featured in many Early-Gothic Cathedrals (normally between Arcade and Triforium), the designers were able to make the richly-glazed Arcade and Clerestory levels larger and almost equal in height, with just a narrow dark Triforium in between. 

Although not the first example of this Three-Part Elevation, Chartres was perhaps the first of the great Churches to make a success of it and to use the same design consistently throughout. The result was a far greater area of window openings. These windows were entirely glazed with densely-coloured glass, which resulted in a relatively dark Interior – but one which accentuated the richness of the glass and the coloured light that filtered through them.

Increasing the size of the windows meant reducing the wall area, considerably, something which was made possible only by the extensive use of Flying Buttresses on the outside. These Buttresses supported the considerable lateral thrusts resulting from the 34m-high Stone Vaults, higher and wider than any attempted before in France. These Vaults were quadripartite, each Bay split into four webs by two diagonally-crossing Ribs, unlike the Sexpartite Vaults adopted in many earlier Gothic Cathedrals, such as at Laon.

Another architectural breakthrough, at Chartres, was a resolution to the problem of how to arrange attached Columns, or Shafts, around a Pier, in a way that worked aesthetically – but which also satisfied the desire for structural logic, that characterised French High-Gothic.

Chartres Cathedral marks the high point of French Gothic art.

The vast Nave, in pure ogival style, the Porches adorned with fine sculptures from the middle of the 12th-Century, and the magnificent 12th- and 13th-Century Stained-Glass Windows, all in remarkable condition, combine to make it a masterpiece.

Available on YouTube at

http://youtu.be/9727p6ozlYo.

The Nave, at Chartres, features alternating Round and Octagonal Solid-Cored Piers, each of which has four attached Half-Columns at the Cardinal Points: Two of these (on the East-West axis) support the Arches of the Arcade; one acts as the Springing for the Aisle Vault; and one supports the cluster of Shafts, that rise through the Triforium and Clerestory, to support the High-Vault Ribs. This Pier design, known as Pilier Cantonné, was to prove highly influential and subsequently featured in a number of other High-Gothic Churches.

Although the sculpture, on the Portals, at Chartres is generally of a high standard, the various carved elements inside, such as the Capitals and String Courses, are relatively poorly finished (when compared, for example, with those at Reims or Soissons) – the reason is simply that the Portals were carved from the finest Parisian limestone, or ' 'calcaire' ', while the internal Capitals were carved from the local Berchere stone, that is hard to work and can be brittle.

Perhaps the most distinctive feature of Chartres Cathedral is the extent to which architectural structure has been adapted to meet the needs of Stained Glass. The use of a Three-Part Elevation, with external buttressing, allowed for far larger windows than earlier designs, particularly at the Clerestory level. Most Cathedrals of the period had a mixture of windows containing plain, or grisaille, glass and windows containing dense, Stained Glass panels, with the result that the brightness of the former tended to diminish the impact and legibility of the latter. 

At Chartres, nearly all of the 176 windows were filled with equally dense Stained Glass, creating a relatively dark, but richly coloured, interior, in which the light, filtering through the myriad narrative and symbolic windows, was the main source of illumination.

The West Façade (Portail Royale), 

Chartres Cathedral.

Photo: 12 November 2005.

Source: Own work.

Author: Photo:Nina Aldin Thune User:Nina-no.

(Wikimedia Commons)

The majority of the windows, now visible at Chartres, were made and installed between 1205 and 1240, however, four Lancets preserve panels of Romanesque glass from the 12th-Century, which survived the fire of 1195. Three of these are located beneath the Rose Window in the West Façade; the Passion window, to the South, the Infancy of Christ, in the centre, and a Tree of Jesse, to the North. 

All three of these windows were originally made around 1145, but were restored in the Early-13th-Century and, again, in the 19th-Century. The other 12th-century window, perhaps the most famous at Chartres, is the, so-called, Belle Verrière, found in the first Bay of the Choir, after the South Transept. This window is actually a composite; the upper part, showing the Virgin and Child surrounded by adoring Angels, dates from around 1180 and was probably positioned at the centre of the Apse in the earlier building. 

The Virgin is depicted wearing a blue robe and sitting in a frontal pose on a throne, with the Christ Child seated on her lap, raising His hand in Blessing. This composition, known as the Sedes sapientiae ('Throne of Wisdom'), which also appears on the Portail Royale, is based on the famous cult figure kept in the Crypt. The lower part or the window, showing scenes from the Infancy of Christ, dates from the main glazing campaign, around 1225.

Cathedral of Notre Dame de Chartres.

Available on YouTube at

http://youtu.be/w8QRG-Xc6oU.

PART FIVE FOLLOWS.

Chartres Cathedral (Part Three).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: Notre-Dame de la Belle Verrière.

Stained-Glass Window in the Choir of Chartres cathedral. 

The lower part depicts the Temptation of Christ. 

The two following parts relate the Marriage at Cana. 

12th-Century (parts with the red background) and 13th-Century.

Français: « Notre-Dame de la Belle Verrière », vitrail du chœur de la Cathédrale Notre-Dame de Chartres. Le registre inférieur évoque la Tentation du Christ. Les deux registres suivants relatent les Noces de Cana. XIIème siècle (panneaux sur fond rouge) et XIIIème siècle.

Photo: 7 February 2009.

Source: Own work.

Author: Eusebius (Guillaume Piolle).

(Wikimedia Commons)

It is important to remember that the builders were not working on a clean site, but would have had to clear back the rubble and surviving parts of the old Church, as they built the new. Nevertheless, work progressed rapidly. The South Porch, with most of its sculpture, was installed by 1210, and, by 1215, the North Porch had been completed and the Western Rose Window installed. 

The Nave High Vaults were erected in the 1220s; the Canons moved into their new Stalls in 1221, under a temporary Roof at the level of the Clerestory, and the Transept Roses were erected over the subsequent two decades. The High Vaults, over the Choir, were not built until the last years of the 1250s, as was re-discovered in the first decade of the 21st-Century.

Each arm of the Transept was originally meant to support two Towers, two more were to flank the Choir, and there was to have been a central Lantern over The Crossing  –  nine Towers in all. Plans for a Crossing Tower were abandoned in 1221 and The Crossing was Vaulted over. 

Work on the remaining six Towers continued at a slower pace for some decades, until it was decided to leave them without Spires (as at Laon Cathedral, and elsewhere). The Cathedral was Consecrated on 24 October 1260 in the presence of King Louis IX of France, whose Coat-of-Arms was painted over the Apsidal Boss.

Chartres Cathedral.

Sacred Geometry.

Available on YouTube at

http://youtu.be/BeC7s_UtL2M.

Compared with other Mediaeval Churches, relatively few changes have been made to the Cathedral since its Consecration. In 1323, a substantial two-storey construction was added at the Eastern End of the Choir, with a Chapel, dedicated to Saint Piat, in the Upper Floor, accessed by a staircase opening onto the Ambulatory (the Chapel of Saint Piat is normally closed to visitors, although it occasionally houses temporary exhibitions). The chamber, below the Chapel, served the Canons as their Chapter House.

Shortly after 1417, a small Chapel was placed between the Buttresses of the South Nave for the Count of Vendôme. At the same time, the small Organ, that had been built in the Nave Aisle, was moved up into the Triforium, where it remains, though some time in the 16th-Century it was replaced with a larger one on a raised platform at the Western End of the building. To this end, some of the interior Shafts, in the Western Bay, were removed and plans made to rebuild the Organ there. In the event, this plan was abandoned, the glass, in the Western Lancets, was retained and the old Organ was replaced with the present one.

Français: Cathédrale Notre-Dame de Chartres, Eure-et-Loir, Centre, France. 

La clôture du chœur.

English: Chartres Cathedral, Eure-et-Loir, Centre, France. 

The monumental Screen, around the Choir.

Photo: 28 September 2008.

Source: Own work.

Author: Tango7174.

(Wikimedia Commons)

In 1506, lightning destroyed the North Spire, which was rebuilt in the 'Flamboyant' style by local mason, Jehan de Beauce (who also worked on the Abbey Church in Vendôme). It is 113 metres high and took seven years to construct. After its completion, Jehan continued working on the Cathedral, and began the monumental Screen around the Choir Stalls, which was not completed until the beginning of the 18th-Century.

In 1757, a number of changes were made to the Interior, to increase the visibility of the Mass, in accordance with changing religious customs. The jubé (Choir Screen), that separated the Liturgical Choir from the Nave, was torn down and the present Stalls built (some of the magnificent sculpture from this Screen was later found buried underneath the Paving and preserved, though it is not on public display). At the same time, some of the Stained-Glass in the Clerestory was removed and replaced with grisaille windows, greatly increasing the illumination of the High Altar.

In 1836, the old lead-covered Roof, with its complex structure of timber supports (known as 'the forest') was destroyed by fire. It was replaced with a copper-clad Roof, supported by a network of cast iron ribs, known as the Charpente de fer. At the time, the framework over The Crossing had the largest span of any iron-framed construction in Europe.

The iron girder structure (known as the charpente de fer) 

supporting the Roof of Chartres Cathedral (view from Western End).

Photo: 18 August 2009.

Source: Own work.

Author: StuartLondon.

(Wikimedia Commons)

The Cathedral was damaged in the French Revolution, when a mob began to destroy the sculpture on the North Porch. This is one of the few occasions on which the anti-religious fervour was stopped by the townsfolk. The Revolutionary Committee decided to destroy the Cathedral, via explosives, and asked a local architect to organise it. 

He saved the building, by pointing out that the vast amount of rubble from the demolished building would so clog the streets it would take years to clear away. However, when metal was needed for the army, the brass plaque, in the centre of the Labyrinth, was removed and melted down  –  our only record of what was on the plaque was Felibien's description.

The Cathedral of Chartres was, therefore, neither destroyed nor looted during the French Revolution and the numerous restorations have not diminished its reputation as a triumph of Gothic Art. The Cathedral has been fortunate in being spared the damage suffered by so many during the Wars of Religion and the Revolution, though the lead Roof was removed to make bullets and the Directorate threatened to destroy the building, as its upkeep, without a Roof, had become too onerous.

Chartres Cathedral.

Sacred Geometry.

Available on YouTube at
http://youtu.be/_3PbecRbggg.

All the glass from the Cathedral was removed in 1939, just before the Germans invaded France, and it was cleaned after the War and re-leaded before replacing. While the city suffered heavy damage by bombing in the course of World War II, the Cathedral was spared by an American Army officer, who challenged the order to destroy it.

Colonel Welborn Barton Griffith, Jr. questioned the strategy of destroying the Cathedral and volunteered to go behind enemy lines to find out whether the German Army was occupying the Cathedral and using it as an observation post. 

With a single Enlisted Soldier to assist, Griffith proceeded to the Cathedral and confirmed that the Germans were not using it. After he returned from his reconnaissance, he reported that the Cathedral was clear of enemy troops. The order to destroy the Cathedral was withdrawn, and the Allies later liberated the area. Griffith was killed "In Action" on 16 August 1944, in the town of Leves, near Chartres.

PART FOUR FOLLOWS.

Chartres Cathedral (Part Two).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Français: Cathédrale Notre-Dame de Chartres, 

Eure-et-Loir, Centre, France. La façade nord.

English: Chartres Cathedral, Eure-et-Loir, 

Centre, France. The North Façade.

Photo: 27 September 2008.

Source: Own work.

Author: Tango7174.

(Wikimedia Commons)

There have been at least five Cathedrals on this site, each replacing an earlier building damaged by war or fire. Nothing survives of the earliest Church, which was destroyed during an attack on the City by the Danes in 858 A.D. Of the Carolingian Church that replaced it, all that remains is a semi-circular Chamber located directly below the centre of the present Apse. This Chamber, known as the Lubinus Crypt (named after the Mid-6th-Century Bishop of Chartres), is lower than the rest of the Crypt and may have been the Shrine of a local Saint, prior to the Church's re-dedication to The Virgin.

Another fire, in 962 A.D., is mentioned in the annals, though nothing is known about the subsequent rebuilding. A more serious conflagration occurred in 1020, after which Bishop Fulbert (Bishop from 1006 to 1028) began the construction of an entirely new building. Most of the present Crypt, which is the largest in France, dates from that period.

The rebuilding proceeded in phases over the next hundred years or so, culminating in 1145 in a display of public enthusiasm dubbed the "Cult of the Carts" – one of several such incidents recorded during the period. It was claimed that, during this religious outburst, a crowd of more than a thousand penitents dragged carts, filled with building supplies and provisions, including stones, wood, grain, etc, to the site.

English: Central tympanum of the Royal portal of Chartres Cathedral.

Français: Tympan central du portail royal de la Cathédrale Notre-Dame de Chartres.

Photo: 7 February 2009.

Source: Own work.

Author: This photo was taken by Eusebius (Guillaume Piolle).

Feel free to reuse it, but always credit me as the Author, as specified below.

Attribution: © Guillaume Piolle / CC-BY-3.0.

(Wikimedia Commons)

In 1134, another fire damaged the Town, and perhaps part of the Cathedral. The North Tower was started immediately afterwards – the South Tower some time later. From the beginning, it was intended that these Towers flank a Central Porch of some sort and a Narthex.

When the North Tower rose to the level of the second storey, the South Tower was begun – the evidence lies in the profiles and in the Masons' marks on the two levels of the two Towers. Between them, on the first level, a Chapel was constructed to Saint Michael. Traces of the Vaults and the Shafts, which supported them, are still visible in the Western two Bays. This Chapel was probably Vaulted, and those Vaults saved the Western Glass. The Stained Glass, in the three Lancets over the Portals, date from sometime between 1145 and 1155, while the South Spire, some 103 metres high, was also completed by 1155.

Work was begun on the Royal Portal, with the South Lintel around 1136 and with all its sculpture installed up to 1141. Opinions are uncertain, as the sizes and styles of the Figures vary and some elements, such as the Lintel over the Right-Hand Portal, have clearly been cut down to fit the available spaces. 

The sculpture was originally designed for these Portals, but the layouts were changed by successive Masters (see careful lithic analysis by John James). Either way, most of the carving follows the exceptionally high standard typical of this period and exercised a strong influence on the subsequent development of Gothic Portal design.

Some of the Masters have been identified by John James, and drafts of these studies have been published on the web-site of the International Centre of Mediaeval Art, New York.

Chartres Cathedral.

Sacred Geometry.

Available on YouTube at

http://youtu.be/sQB_P6ECvE8.

On 10 June 1194, another fire caused extensive damage to Fulbert's Cathedral. The true extent of the damage is unknown, though the fact that the Lead Cames, holding the West Windows together, survived the conflagration intact, suggests contemporary accounts of the terrible devastation may have been exaggerated. Either way, the opportunity was taken to begin a complete rebuilding of the Choir and Nave in the latest style. The undamaged Western Towers and Façade were incorporated into the new works, as was the earlier Crypt, effectively limiting the designers of the new building to the same General Plan as its predecessor. In fact, the present building is only marginally longer than Fulbert's Cathedral.

One of the unusual features of Chartres Cathedral is the speed with which it was built – a factor which helped contribute to the consistency of its design. Even though there were innumerable changes to the details, the Plan remains remarkably consistent. The major change occurred six years after work began, when the seven deep Chapels, around the Choir opening off a Single Ambulatory, were turned into shallow recesses opening off a Double-Aisled Ambulatory.

Chartres Cathedral.
Sacred Geometry.
Available on YouTube at
http://youtu.be/puFsJQnPTyo.

Australian architectural historian, John James, who made a detailed study of the Cathedral, has estimated that there were about 300 men working on the site at any one time, although it has to be acknowledged that current knowledge of working practices at this time is somewhat limited. Normally, Mediaeval Churches were built from East to West, so that the Choir could be completed first and put into use (with a temporary wall sealing off the West End), while The Crossing and Nave were completed.

Canon Delaporte argued that building work started at The Crossing and proceeded outwards from there, but the evidence, in the stonework itself, is unequivocal, especially within the level of the Triforium. The Nave was at all times more advanced than the Ambulatory Bays of the Choir, and this has been confirmed by dendrochronology.

The history of the Cathedral has been plagued by more theories than any other, a singular problem for those attempting to discover the truth. For example, Louis Grodecki argued that the lateral doors of the Transept Portals were cut through the walls at a later date, and van der Meulen that they had wanted to rebuild the Western Portals (then only 50 years old).

None of these theories refer back to the actual stonework, and it is only when one has done so, as John James did exhaustively in 1969, that one realises that the construction process was in fact simple and logical.

PART THREE FOLLOWS.