A Closer Look: Sainte-Chapelle, Paris

Constructed in 1248 upon the command of Louis IX, this building was designed to be grander than any other church in a blatant declaration of the piety and prestige of the French monarchy. Before delving into the specifics of Sainte-Chapelle, I find it appropriate to provide a brief biography (and backstory) of Louis IX, since he did largely initiate the Rayonnant era and many other Gothic trends.

Sainte-Chapelle in Paris, built by Louis IX between 1241 and 1248.

The King of France reigned between the years 1226 and 1270, which was an unusually long span of time given the Middle Ages, and he was well-known for his fairness and piety–even being referred to as “the model Christian king” and St. Louis (he was canonized in 1297). In the year 1239, it is believed that Louis IX bought sacred relics and even some of Jesus’s crown of thorns from Emperor Baldwin in Constantinople to be placed in Saint-Chapelle. He added to this collection in 1241 with additional relics, including: Jesus’s cross, the Holy Spear, the Holy Sponge, a nail from the crucificixion, and the robe and shroud of Jesus. Later would be added part of the skull of St. John the Baptist.

Most of the stained glass at Sainte-Chapelle is aimed to link French royalty to Biblical royalty, specifically to kings David and Solomon; many coronation scenes are also portrayed, including Jesus's.

As for the actual building of Saint-Chapelle (constructed 1241-1248), the structure is actually smaller than most despite its lavish interior. Also unique, the flying buttresses are in fact attached to the support columns inside and invisible on the outside, making any technical structures invisible and giving the cathedral an ethereal and weightless atmosphere. Since there are no obstructions, light flows in uninterrupted, and under the full beams of the sun one would think himself inside a jewel or heaven.

Portals and Human Figures

Sculptures of human figures played important roles in maintaining the Gothic theme–that is, religious piety, verticality, and complexity. Often propped up along portals (doorways), they continued the geometry created by the arching lines. Since each one is carved individually, no two are the same, much like the gargoyles, and the style of their creation has much changed throughout the Middle Ages.

In the beginning, for example, figures and their garments were often rigid and uncomplex; the facial expressions were stoic. As Gothic progressed, however, more and more figures after 1200 developed softer facial features and received garb that was more realistic and flowy. Bodies were no longer so rigidly made–now the bodies twisted and turned and interacted with one another. They were, simply, more human.

"Last Judgment" at Amiens

And obviously, depictions of Christ and religious scenes were a common and almost necessary theme in every cathedral. Famously, the “Last Judgment” is perhaps the most forboding (and is therefore popular to place in front of entrances to serve as daily reminders of retribution). Typically, Christ is shown surrounded by angels holding instruments of the Passion, the cross, the crown of thorns, the lance, and the sponge–all of which were used as part of his torture. As Christ makes his judgments on who is worthy to go to Heaven and who ought to go to Hell, the Virgin Mary and Saint John serve as the mediators between Him and mankind. Below Saint Michael stands beside a scale, at which point the blessed and the damned are split and are now going separate ways (left and right, respectively). The blessed then raise into the archivaults as souls, at the crux of which they meet angels. Below the whole scene (and lining the doorways) are the apostles.

Gargoyles

Ominous and leering, ugly gargoyles were meant to drive away evil spirits, although one cannot deny that their presence may also meant to add to the mysticism that was religion.

Placed along the rooflines of buildings, each gargoyle’s location is explained by its function, that is, water spouts. If it rained, the water would travel through their bodies and drop onto people below as if spitting or drooling on them. Unfortunately, this convenient function has led to erosion and damage to many of the statues, and it is not uncommon for them to be replaced or recarved.

Gargoyle at Notre-Dame

No two gargoyles are identical. Most come in the forms of mystical creatures, although the lion was particularly popular as well as human figures.

Although the exact purpose of gargoyles is not known, there are a few likely functions beyond serving as a gutter:

1. Representation of devils and evil spirits bound to the church in retribution.
2. Scaring away of devils, etc. to keep believers safe on the inside.
3. Or, pure Medieval fascination with monsters.

Stained Glass and the Rose Window

Although adding glass windows to the structures of the cathedrals would prove challenging (and still problematic even today) with its inability to hold the weight of the ceiling, there can nevertheless be no doubt of the sacred atmosphere incited by stained glass, not only because the focus of many of the pictures are stories in the Old Testament and the lives of Christ, his apostles, saints, and martyrs, but also because of the amazing light shows.

To summarize the main points of windows:

• The first Gothic stained glass appeared in Saint-Denis circa 1140, although colored glass has been in use since the ancient Egyptians and Romans.
• Traditionally, Medieval windows are read from the bottom to the top.
• Until the 1300s when local workshops were established, most of the glass was made by traveling glass workers.
• Physical characteristics after 1200: vibrant geometric shapes and vivid, jewel-like colors.
• These vibrant windows became the equivalent of today’s movies and television. They were just that transfixing.
• Since most people in society lived poorly and humbly, these buildings kept them in a constant state of awe.

The rose window at Saint-Denis.

Thanks to Louis IX of France, Rayonnant elements were also added on to already-existing structures. Most notably, at Saint-Denis he added transepts, which in 1250 marked the first appearance of the rose window. In true rayonnant style, the lining stone between the panes is very thin and the spandrels and triforium level are made completely from glass. Mostly rose windows are found in the backs and fronts of cathedrals. In the case of Saint-Denis, the north transept portrays the Tree of Jesse while the south rose (constructed 1260) shows the Gregorian calendar and the signs of the zodiac. These rose windows would become the models for future ones.

The Gothic Influence in Spain

The Gothic style started in Spain as a result of Central European influence in the twelfth century when late Romanesque alternated with few expressions of pure Gothic architecture. The High Gothic arrives with all its strength through the pilgimage route, the Way of Saint James, in the thirteenth century. Some of the most pure Gothic cathedrals in Spain, related to the German and French Gothic, were built at this time.

Catedral de Cuenca

The Gothic style was sometimes adopted by the Mudéjar architects, who created an hybrid style, employing with European techniques and Spanish-Arab decorations. The most important post−thirteenth-century Gothic styles in Spain are the Levantino, characterized by its structural achievements and the unification of space, and Isabelline Gothic, made under the Catholic Monarchs, that supposed a slow transition to Renaissance.

In fact, the Gothic architecture, really took root in Spain. When in the first half of the sixteenth century in Italy the Renaissance had its greatest expansion, began in Spain some great Gothic Cathedrals.

The Gothic Influence in England

The buildings seen in England are very similar to the ones in France. One of the earliest, large-scale construction projects was the building of the Canterbury Cathedral, seen here:

Another of the earliest was Westminster Abbey, which served as the burial place of many British royals:

Gothic architecture was to develop along lines that are sometimes in parallel with and sometimes diverse from those of continental Europe. Historians traditionally divide English Gothic into a number of different periods, which may be further subdivided to accurately define different styles. Gothic architecture continued to flourish in England for a hundred years after the precepts of Renaissance architecture were formalized in Florence in the early 15th century. The Gothic style gave way to the Renaissance in the later 16th and 17th centuries, but was revived in the late 18th century as an academic style and had great popularity as Gothic Revival architecture throughout the 19th century.

Many of the largest and finest works of English architecture, notably the medieval cathedrals of England are largely built in the Gothic style. So also are castles, palaces, great houses, universities, and many smaller unpretentious secular buildings, including almshouses and trade halls. Another important group of Gothic buildings in England are the parish churches, which, like the medieval cathedrals, are often of earlier, Norman foundation.

The Gothic Influence in Germany

Much of early Gothic architecture is reminiscent of the French style, as seen in the Cologne Cathedral, which was modeled after the one at Amiens. Gradually, however, we can see stone being replaced by bricks.

This trend started at the northern German city of Lübeck, which was once deemed the “capital of the Hanseatic League,” which might explain why building took such form there. It not only had the economic resources, but also possessed a very pious and civic community. Churches, town halls, and the famous city gates were all needed to be built, and the lack of stone availability forced the Germans to use clay instead.

The historic and iconic city gate of Lübeck

As the use of baked red brick in Northern Europe dates from the 12th century, the oldest such buildings are classified as the Brick Romanesque. In the 16th century, Brick Gothic was superseded by Brick Renaissance architecture.

Brick Gothic is characterized by the lack of figural architectural sculpture, widespread in other styles of Gothic architecture; and by its creative subdivision and structuring of walls, using built ornaments and the color contrast between red bricks, glazed bricks and white lime plaster.

The Marienkirche in Lübeck

The Gothic Influence in France

Throughout France there is little doubt how much the Gothic influence has affected both the rural and urban landscapes. Since the country was essentially the birth-place of the style, it is only natural that the concentration of Gothic buildings is the highest of anywhere in Europe, especially in northern France. Here is a map to get the general idea:

As you can see, France clearly is the place to go if you would like to observe the Gothic style. We can also see some modest proliferation into Germany and England, even though the locations are noticeably more interspersed. As the style spread in the middle ages,  Gothic buildings would ultimately develop their own flare and “kick” unique to each region, such as the “Brick Gothic” in northern Germany. In the case of France, though, we see the style that we most often associate to the term “Gothic.”

The building can be separated into three periods:

1. Early Gothic

2. Lancet Gothic

3. Rayonnant Gothic

4. Flamboyant (Late) Gothic

In this humble study, however, the majority of my focus will be upon the Rayonnant era. The epoch’s name is derived from the French word “rayonner”, which means “to shine” or “to radiate.” In normal terms, this name refers to the increased permeation of light through the windows. The stone that separated windows and panes gradually dissipated more and more until all that was left was beautifully geometric, unrestrained rays. At the same time, it is important to remember that this change construction was the only one that distinguished Rayonnant from earlier styles (i.e., High Gothic). The basic structure and floorplan remained the same.

Cathedrals: Structural Characteristics

This gallery contains 8 photos.

This entry will be dedicated solely to the purpose of identifying the specific features of Gothic architecture. As stated in my first post, cathedrals are terribly skeletal, and the main reason why they are lies in a good support system, because the “bones” allow pressure to travel down certain places to the ground while avoiding … Continue reading →

Romanesque to Gothic: The Transition

During the Late Medieval Era, Romanesque architecture had begun a gradual transition into the genre we know now as “Gothic.” The two styles share much in common, including ribbed vaults, buttresses, clustered columns, ambulatories, wheel windows, spires and tympanums. Sometimes it can be confusing trying to tell them apart, but, as shown below in the photos, there are two major differences which, by definition, distinguish them from each other:

The Cathedral of Lisbon

Notre Dame de Paris

              …See the difference? Whereas the Romanesque Cathedral at Lisbon is big, bulky, and simplistic, the Notre Dame de Paris is ornate, open, and possesses more windows. Or, more specifically, the Gothic building has light. For the first time in Europe, grand structures weren’t so dark on the inside because architects were using more and more windows. Of course, this would pose many structural problems, but I will talk more about that later. Also note the shape of the doorways: the ones at Lisbon are rounded, and the ones at Paris are pointed. Still, it is easy nonetheless to see how Romanesque eventually evolved into the other over time. The rose windows at the front, for example, are nearly the same.

But why did this transition actually happen? The answer perhaps lies in monasticism. Each region of western Europe generally had its own dominant religious order that had very specific architectural preferences, and many of them had profound influences on the buildings found in everyday life. The Cluniacs in France, who epitomized the Romanesque tradition, insisted on absolute simplicity, claiming that superfluous decoration in addition to paintings and depictions would distract from religious piety. Walls were meant to be bland. On the opposite side was the Cistercian Order, who emerged after the Cluniac Order, and whose ruined churches in the French countryside later served as the basic blueprint for much of Gothic architecture. They emphatically advocated windows and light, thinking  it would help transport the viewer from a state of “material” to “immaterial,” since all the focus was on the light, and the light came from God.

Sources:

Chambers, Mortimer, et al. The Western Experience. 7th ed. The McGraw-Hill Companies, 1999. Print.

Toman, Rolf, Barbara Borngässer, and Achim Bednorz. Churches and Cathedrals: 1700 Years of Sacred Architecture. Bath, UK: Parragon Books Ltd, 2009. Print.

“Cistercians.” Wikipedia, the Free Encyclopedia. Web. 20 Oct. 2011. <http://en.wikipedia.org/wiki/Cistercians&gt;.