The Holy Chapel of King Louis IX

Tonight's post takes us to the Palais de la Cite of Paris, where we will look at, rather in depth, the Sainte-Chapelle, or The Holy Chapel. What makes this such a complex topic is that Sainte-Chapelle is more than just a royal chapel. It was also a powerful political symbol and a major turning point in the French monarchy's persistent attempts at creating an imperial autarchy. Even at it stands today, within the Palais de Justice, it still makes a compelling statement as to the power of the French monarchy and its role in society in medieval times. It is for these very reasons that make the building of Sainte-Chapelle an important part of both French and architectural history.

Overview of Sainte-Chapelle

During the thirteenth century, Gothic architecture that was solely created in Paris was called opere francigeno, or French work. It was a style of Middle Age architecture that became synonymous with the French kingdom and its omnipresence there. 

Sainte-Chapelle had become a shining example of the Rayonnant, or radiating, style of High-Gothic architecture in both its design and overall effect. While its exterior was rather plain in terms of its architecture, Sainte-Chapelle's beauty radiated on the inside. The solid stone blocks gave way to immense glistening walls of light, leaving its visitors awe-struck, feeling as though they had been transported to a glorious room in Heaven. Much as Saint Denis became a model for Gothic architecture, Saint-Chapelle became a model for holy chapels; a style that would persist through all of Louis' descendants. 

Despite its beauty and allure to the general public, however, the chapel was never intended for public use. Rather, it was to be a very large reliquary for the many religious artifacts collected by King Louis IX. Churches have always been, to some extent, reliquaries. Many have become the final resting places of kings, saints and martyrs. And Sainte-Chapelle was no different, with its holy relics enshrined in the upper chapel and the tombstones representing some of the chapel's past clergy in the lower chapel.

A Crowning Achievement

In 1237, King Louis IX had managed to procure one of the most holy relics in Christianity, the Crown of Thorns, a part of the passion of Christ. Louis had learned that his cousin, Emperor Baldwin II of Constantinople was in dire financial straights and had pawned the crown to the Venetians. Louis, being a devout Catholic, despaired at the thought of this, and offered to purchase the crown for a very large sum of money. This satisfied all those involved. The Venetians got their money, Baldwin no longer owed the Venetians money and Louis now possessed the most holy of relics. But, the crown was not just a relic, nor was it just historic. This particular crown had been laid upon the head of Christ, causing Him to bleed. 

"And they [the soldiers]stripped him and put a scarlet robe on him, and twisting together a crown of thorns, they put it on his head and put a reed in his right hand. And kneeling before him, they mocked him, saying, “Hail, King of the Jews!”And they spit on him and took the reed and struck him on the head." Matthew 27:28-30 (ESV)

The crown and all that it represents, reminds us of the pain of the suffering Christ, thus adding another dimension into this already spiritual experience. One cannot help but be moved by the whole thing.

The Crown Arrives

The crown was delivered by two Dominican friars, arriving in Paris from Venice, in August of 1239. Louis made a grand event of its arrival. For the last leg of its journey, the crown was carried by the King himself, walking barefoot and dressed as a penitent (I've tried to research WHY he was carrying them as such, but came up with a big fat nothing!) The scene depicted at right, Relics of the Passion, (from the Kings window) shows Louis, wearing a gold crown, followed by his brother and courtiers as they walk into Paris carrying the Crown of Thorns atop a golden chalice. 

The crown was placed in Louis' private chapel, the chapel of San Nicolas. However, Louis felt that this place was not of a suitable size or grandeur to house such an important piece of Christian history. Thus, he commissioned a new, larger and more opulent space for it. He took it upon himself to gather the permissions required for work on the chapel (much the same as today's building permits and variances). Construction took a mere 7 years, completed shortly before Louis would depart for the Middle East and the 7th crusade. (Pay attention here----more numerology!)

In 1241, Louis was able to acquire two other antiquities to add to his collection, fragments of the Holy Cross and the Holy Lance (the spear that pierced the side of Christ as He hung on the cross). These were also placed in the San Nicolas chapel while work continued on their permanent home, Sainte-Chapelle.

The New Jerusalem 

 

Sainte-Chapelle dominated the thirteenth century city of Paris. It was a reified locus, becoming integrated in the city. This helped define Paris as a cultural, spiritual and political center. But, Louis wanted Paris to become more than just a spiritual place, he wanted it to become a second capital of Christianity. The French people already saw their king as Christ’s cleric. Louis embodied the very notion of a devoted Christian king: he was gallant, powerful, and rich, but he was also pious and a dutiful bidder to the church.

Further, Louis' purchase of the relics not only reflected his personal desire to possess all of that which remained, but also to assert his place as a true heir to the throne of Jerusalem. This implied that the Capetians, also known as the House of France (which Louis was a descendant of), were the chosen people of God. This belief was not something just made up by Louis, but well solidified by Pope Gregory IX characterization of the French in 1239:

“The Son God...has established different kingdoms...so the kingdom of France is distinguished above all other peoples of the world by being singled out for honor and grace by the Lord.”(1)

The relationship between God and the French monarchy was now clearly established. Louis’s political aspirations for his kingdom to be the New Jerusalem are clear. The building of his reliquary made for a visual display of France’s divine connection with the Promise Land, and Sainte-Chapelle becoming a holy place.

The Holy Chapel

 

Historians have had some difficulty determining who exactly had designed this Medieval work of art. It is assumed that  perhaps it was Pierre de Montreuil, the architect of monastic buildings that included  Saint-Germain-des-Prés and the southern aisle of the Notre-Dame de Paris’ transept. Others who could also be considered are Robert de Luzarches and Thomas de Cormont, both of whom worked on the designed of the Chapelle de la Vierge in Amiens. There has also been some difficulty in nailing down exactly when Sainte-Chapelle was built, but researchers have been able to come up with it being sometime between 1241 and 1243. 

The chapel building itself is a double structure and it is linked to royal apartments by way of a roofed gallery. It had been one of the highest buildings in Paris, after Notre-Dame de Paris, standing at approximately 108 feet tall. The overall size of the chapel was kept to a rather modest space, but its slim design made it seem taller and bigger than it actually was. Since it was not a pilgrimage site, ambulatory aisles and radiating chapels were omitted from the design plan. Its roof is made of slate, topped with a large spire made from cedar.

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The upper level chapel, or chapelle haute, was meant for private use by Louis and the royal family, as well as to house the Kings' Passion collection. It was consecrated by the Pope's envoy, Eudes of Châteauroux, in April 1268, and dedicated to the Holy Cross. It is made up of four bays and a seven section choir. Its surface masonry reduced to the absolute minimum; instead, soaring stained glass windows act as its walls. Its ceiling appears to be supported by the stained-glass, making this magical space feel like being on the inside of a jewel. In a leaflet from the Centre des Monuments Nationeaux (Center for National Monuments) describes the upper chapel as such:

 "The ceiling seems to float above the stained-glass windows. The massive buttresses have all but disappeared, masked by clusters composed of nine delicate columns, so placed that the mass of each pillar is barely perceptible."

At its center there had been a magnificent gold and silver shrine, the place of the relics of The Passion. They were enclosed in a large, ornately decorated reliquary, called a Grand Châsse (which no longer exists, as it was melted down  for use in making weapons for the French Revolution...gasp, gulp 😮), and placed at the back of the apse. (Note: these relics no longer reside at Ste. Chapelle. In 1806, they were moved to Notre-Dame de Paris, and are now in storage as restoration work begins following the April 2019 fire.)

{Image: "Choir with Grande Chasse in Background". From "Sainte Chapelle Gospels" illuminated manuscript. The artist was Master of the Registrum Gregorii, an anonymous tenth-century scribe and illuminator, c 977-993}

The lower level chapel, or chapelle basse, was dedicated to the Virgin Mary by Pierre Berruyer, the Archbishop of Bourges. It served as both a parish center and chapel for Louis' household staff. It also acted as a structural base for the immense chapel above, its solid walls and low vaults anchoring the entire structure. 

This space was more modest compared to the upper chapel, but elegant in its own right. Its vaulted ceiling of only 21 feet, is decorated to resemble a starry sky. The main space is divided into a nave and side aisles, all vaulted at the same height. Arched columns are decorated with nature-themed carvings and medallions adorned with fleur-de-lis, representing the monarchy.

 

 

Rose Colored Glasses 

 

The upper chapel is home to one of the oldest and greatest treasures of stained glass art in Europe, many of which date back to the 13th century. Its windows were created by the same master craftsman who did the windows at Chartres. There are 15 towering windows, 50 feet tall and 15 feet wide, depicting 1,113 scenes, easily making it the crown jewel of the chapel. (Today there are approximately 720 original panes of glass remaining in the windows.)

The individual windows are made up of over 100 sections of stained glass. Each piece of glass is assembled scene by scene and held together with strips of channeled lead. They are then subdivided with intricate bar tracery. Every grouping has four lancets topped by three rose windows, except in the choir, which only has two lancets.

It boggles the mind that such a soaring space made mostly of glass doesn’t just collapse. BUT, that’s where the pointed vaults come in! Remember, they are a hallmark of the Gothic architectural style. The convergence of the pointed arches at the ceiling create the most beautiful shapes and shadows, which are highlighted by a dark blue and gold-starred pattern that resembles the night sky, similar to that in the lower chapel.

Interestingly, only five colors are used in the stained glass windows – blue (from cobalt), red and green (from copper), purple (from manganese) and yellow (from antimony). The colors seem to just blend together, forming a rainbow mosaic of color. The windows relate stories from the books of the Bible from Genesis to the Book of Revelation.  Its iconography is as follows:

1. Genesis – the creation story, followed by the story of Adam and Eve.
2. Exodus – the flight of the Israelites from Egypt, including the parting of the Red Sea.
3. Numbers – the march out of Egypt and the coronation of the Kings of Israel.
4. Deuteronomy/Joshua – the struggle against idolotry, the naming of Joshua as the successor of Moses and the settlement of the Jews in the promised land.
5. Judges – the story of Samson and Delilah.
6. Isaiah – the first and longest of the prophetic books of the Bible in which the vision of the tree of Jesse prophesied the genealogy of Jesus Christ, Jesse’s son, King David and the Virgin Mary.
7. St John the Evangelist and the Childhood of Christ – St John, one of the closest observers of the life of Christ, which explains the presence of the window depicting Christ’s childhood.
8. Christ’s Passion – One of the most important windows of Sainte Chapelle, just behind the raised altar. This window shows the Last Supper through to the Pentecost, with the crowning of thorns in the center.
9. John the Baptist/Daniel – John the Baptist was one of the last preachers to predict the coming of Christ, the Lamb of God, and His sacrifice. The scenes featuring Daniel again focus on the struggle against idol worship.
10. Ezekiel – Like Isaiah and Daniel, the book of Ezekiel also takes on the theme of idol worship, and is followed by the destruction of Jerusalem
11. Jeremiah and Tobias – the visions of Jeremiah depicts the fall of Jerusalem and the book of Tobias is an enlightening story that seemed of particular importance to Louis.
12. Judith/Job* – Judith tells the story of this Jewish widow who saved the town of Bethulia from the siege of the Assyrians by beheading their general. Job tells the story of how his faith never wavered when tempted by Satan. (*The Book of Judith doesn't appear in most common translations of the Holy Bible.)
13. Esther – Esther’s story is featured above the niche where Queen Blanche of Castille, Louis's mother, used to sit, drawing parallels between the two heroines.
14. Kings – Depicts the scenes from Kings I and II and Samuel I and II, which tell the story of the Kings of Israel, particularly Saul, David and Solomon.
15. The Story of the relics of the passion – This window continues the theme to show Louis as the legitimate successor to the Biblical kings. It depicts the finding of the relics and the true cross in Jerusalem by St Helena, their journey to Byzantium, their purchase by Louis and their final resting place in Sainte-Chapelle.
16. St John’s vision of the Apocalypse – This is depicted on the rose window facing West in line with the setting of the sun.

The window wasn't added until 1490, designed in the Flamboyant (or flame-like) style and has 87 "petals".

From the French Revolution and onwards.......

 

Sainte-Chapelle was fairly well preserved during the French Revolution as it had been used for administrative offices. Luckily, the windows were blocked by huge filing cabinets which helped  to protect them during the Revolution. Unfortunately, most of Louis' collection of holy relics were either lost or destroyed. The few pieces that had been found after the Revolution were brought to the treasury of Notre-Dame Cathedral. Architects Felix Duban and Jean-Baptiste Lassus began restoration of the chapel some time after 1803. Eugène Viollet-le-Duc was commissioned to rebuild the spire atop the chapel using his own design, as the original one had been removed during the revolution. The restoration was completed in 1836 by Emile Boeswillwald.

Since then, Sainte-Chapelle has been in  various stages of restoration. The ravages of modern life such as air pollution, the elements and the large number of visitors caused damage to the stained glass windows. In 1945, in an effort to preserve the stained glass, a layer of external varnish had been applied to protect them from the dust and scratches of wartime bombing. Unfortunately, the varnish had gradually darkened the images and the windows themselves, making the already fading images even harder to see.

In 2008, a broad seven-year plan for restoration was begun. Its purpose was to clean and preserve all the stained glass, clean the facade stonework and conserve and repair some of the sculptures. Also included in the restoration plan and budget was a new thermoformed glass layer that would be applied to the exterior of the stained glass windows, giving them further protection. That project was completed in 2015, in time for the 800th anniversary of the birth of Louis IX, who had ordered the construction of the church.

 Footnotes:

1. https://ahlstromappraisals.com/art-history-blog/sainte-chapelle-a-chapel-fit-for-a-king

Cathédrale Notre-Dame de Chartres

Chartres cathedral is so many things wrapped into one. It was a medieval urban center, a center of faith as well as education. It is a survivor of pillaging, flames, and wars. And, like the other French cathedrals, Chartres is a work of art. Stained glass windows abound, sculpture wraps its edifice, both telling their stories in illustration rather than the written word. Within its walls, professors taught those affluent enough to afford an education. Chartres literally defined the cathedral as an urban phenomena. The cathedral was the heart and soul of the city.

Chartres boasts the world's largest surviving collection of medieval stained glass; 150 windows, some dating back to the 13th century. Each pane crafted and painted by hand, colors carefully chosen and fabricated by artisans of the middle ages. Each one telling its own story. In a time when the written word couldn't be understood by many, these windows would educate, encourage prayer and meditation upon God's word, as well as give hope to those who viewed them. The heaven-like atmosphere of the cathedral gave respite to the weary through the beauty of the light-filled space, just as Abbot Suger had planned.

L-r; Melchizedek, Abraham with his son Isaac, Moses, Aaron King David, from the left splay of the central bay of the North Portal, built 1198-1217

The sculpture and statuary that grace the facade of Chartres also presents an opportunity for education. The various friezes, bas reliefs and statues relate stories from the Bible, lives of saints, and royalty from the Old Testament. This is where we begin to see the turning point in Gothic art. Figures are more naturalistic, more expressive. Their poses are more natural, their garments seeming to flow around them. Each figure is uniform in height and given their own space. There is more form to them, seeming more life-like.

Also like the other cathedrals, Chartres was an important stop on the "pilgrimage trail". Chartres possesses a holy relic from the Virgin Mary. In 876, shortly after its consecration, the cathedral was presented with a piece of torn cloth believed to be from the veil of the Virgin Mary when she gave birth to Christ, known as the Sancta Camisia. It was given as a gift from Charles the Bald, the grandson of Charlemagne.

A devastating blaze in 1194 almost put an end to the cathedral's popularity. Not only was the cathedral almost obliterated, but so was the city. It was almost certain that the Sancta Camisia had perished in the fire, leaving the citizens heart broken. However, on the third day after the fire, the piece was located, untouched by flames (hhmmm....does this sound familiar?!) The people believed this to be a sign from the Virgin that she wanted a grander place where Her faithful could come to worship. And thus started the cathedral that stands today.

Unlike the other cathedrals, Chartres was completed in a mere 70 years, (compared to the other cathedrals, with some taking centuries to construct). Its completion and consecration was in 1260, with a pious King Louis IX (St. Louis) in attendance. Since then, no major harm has come to the cathedral. In fact, Chartres is the only French cathedral that gives a clear representation of what it must have looked like at its completion.

The Labyrinth 

The west side of the floor of Chartres' nave has a labyrinth design, using white stone and black marble. It is not exactly known when it was placed, however, some believe it to be in the 13th century. The labyrinth is believed to be symbolic of the spiritual journey of the faithful who travel to the Holy Land. It is also a way to meditate, as the monks used to do.

The labyrinth is approximately 42-ft in diameter, the largest church labyrinth constructed during the middle ages. The circumference of the labyrinth is 131-feet, almost the same size of the west Rose window. In the center panel of the window contains a depiction of Jesus Christ, perhaps forming a spiritual and visual link when viewed from the center of the labyrinth.

West Rose Window at Chartres

Curiously, the labyrinth is the same distance from the west entrance as the west Rose is from the floor. This forms an imaginary line, creating a hypotenuse of an isosceles triangle. If we go back and look at my previous post on "Divine Dimensions and God's Golden Ratio", we can see how this all makes sense. Perhaps there is some "hidden mathematical code" in the designs of the great cathedrals.

"Ignorance of numbers, too, prevents us from understanding things that are set down in Scripture in a figurative and mystical way". (Augustine, On Christian Doctrine, Book 2, Ch.16:25)

A Look Inside

There has been so much written about the characteristics of a Gothic cathedral, the building of the cathedral, the architectural achievements and on and on. But, as I look for inspiration on what to write about next, I've noticed there's really not a lot of information about what is what INSIDE the cathedral! So, I decided to dive in and tackle this topic. The image at the left illustrates the basic layout of any Gothic cathedral. Let's take a look at each one, separately.

We start at the bottom with the Arcade. And no, it's not a place to go to play video games! If you've ever walked along an open hall lined with arches, then you have seen what an arcade is. But let's look at a definition of it, from the Architectural Dictionary app (look for it in Google Play. It's free!):

Nave arcade Noyon Cathedral

Arcade, in architecture, is a line of arches along one or both sides, supported by pillars or columns, either freestanding or attached to a building; a line of counter thrusting arches raised on columns or piers, which are rectangular vertical supports.  Ok, so take a moment to digest all that while I explain.

Arcades were used to separate the nave from the aisles, usually located inside of the cathedral, in the lowest part of the wall of the nave (if you haven't been following along on my little journey, a nave is the central part of the church). It supports the triforium and the clerestory (which I will get to in just a moment...so keep reading.....).

To be classified as an arcade, a structure has to include arches. If it has a series of columns or piers attached to a horizontal support and does not include arches, it's called a colonnade (which are the pillars that support the roof. But, if you really want to impress your friends, you can define it as such: a number of columns arranged in order, at intervals called intercolumniation, supporting an entablature and usually on one side of a roof... wow! That was a mouthful! Sounds impressive!)

Roman Colosseum

Arcades aren't new. They are elements that date back thousands of years. An example of a massive arcade can be seen here, in the ancient Roman architecture of the Colosseum. The Colosseum is an immense stone amphitheater built in Rome around 70 AD.

Moving up to the next part, we see the Triforium. Going to Encyclopedia.com, I've found a simple explanation: The triforium is located below the clerestory windows and above the side-aisle vaults and corresponded on the exterior to the lean-to roof over the aisle. What that it means is, in essence, the triforium was a narrow passageway that would provide a second-story circulation around the church. Since a lot of the Gothic cathedrals were pilgrimage sites, architects needed to devise a way in which visitors could traverse the cathedral without disturbing those attending Mass or who were in prayerful meditation. It was the same idea as the ambulatory, only on a second story.

clerestory at Cattedrale di Monreale, Italy

And lastly, we have the Clerestory (I really like that word..don't know why!). So, once again opening the handy-dandy Architectural Dictionary app, it states that the clerestory is an upper story or row of windows rising above the adjoining parts of the building, designed as a means of increased light into the inner space of the building. So, basically, it was a way to get fresh air and more light into the upper recesses of the cathedral. If you look at the multitude of windows in the cathedral, you will see that none of them open! Can you imagine sitting in church when it's 90 degrees out and have no means of circulating any air?! Yeah, me neither....

Ok, that's it for now friends. Come back to visit again! And bring your Architectural Dictionary app with you so I don't need to keep explaining! 😌😀

The Legend of Saint Denis

Not much is known of the early life of Saint Denis. His legend states that he was converted to Christianity by the Apostle Paul. We also know that he was the first Bishop of Paris and that he is a martyr. 

In 250 A.D., Pope Clement sent Denis on a missionary trip to France to carry the message of Christianity. Christianity was not a popular religion then, as most people were pagans. The Emperor of Rome, Domitian, became so enraged at the advances of Christianity in France that he sent his chief officer, Fescennius, to Paris to put an end to this new religion. His was tasked with rounding up all who declared themselves Christians and put them to death.

Wouldn't you know it, but Denis and 2 of his friends, Rusticus and Eleutherius, were the first ones to be caught. Fescennius has Denis and friends shackled and sent to prison. He tries to kill Denis in many different ways, but none worked. At his wits end, he has Denis thrown in with a group of wild beasts, but when Denis made the sign of the cross in front of the animals, they suddenly settled down and didn’t attack him.

Once again, Denis is back celebrating Mass with his fellow prisoners. He sang, celebrated and communed with the others. And then the Lord appeared to him with great light, and delivered to him bread, saying “take this, my dear friend, for thy reward is most great with me.” It would seem that Denis is quite blessed!

After a while, Fescennius has Denis and his 2 deacons lead away in chains to Montmatre (Hill of Martyrs) where all 3 are beheaded. BUT... Even that fails to kill him immediately! Denis picks up his head, holds it his hands, and walks away from there, preaching a sermon on repentance! Amazingly, he even stopped to rinse his head off along the way! He walked back to his cathedral, which was a considerable distance, and upon his arrival there, Denis finally rests. It is called the Miracle of the Cephalophore (which means the carrying of ones head). Over his final resting place, his church was built. (However, in other stories it is said that the body and Denis and his 2 friends were thrown in the river upon their death and later fished out and buried.)

St Denis is the patron saint of Paris, an apostle of France as well as the patron saint of headaches (I can see why!) The next time you have a killer headache, think of the headache Denis must've had! And, if you are so inclined, say a prayer to him asking him to rid you of your headache.

His legend lives on in the tympanums at the cathedral that bears his name. They are located above the north and south portals of the west façade and tell the story of his imprisonment and martyrdom.

In the North Portal archivolt of the west facade of Saint Denis cathedral, we can see the story of Denis and his deacons as they're being led to Montmartre just before they are beheaded. Notice the three prisoners, Denis, Rusticus, and Elutherius with chains around their necks being led by Roman soldiers, holding rounded shields and swords. And, Fescennius, is seated to the right of the prison, with his arms outstretched, as he issues an order for their execution.

Above that scene, we see the beheading of St. Denis. God the Father is above all, with an angel below and the martyrs crown in the center.
To the left of that is Denis, and to the right are his deacons. Just above the tympanum, we see the figures of both Denis and the executioners. In the the tympanum, at the top, in the left side is Laertia, then the executioners. In the center of the tympanum, we see Christ giving Communion to Denis and his deacons. To his left is the Roman provost, Fescennius.

Gothic Architecture 101

Gothic architecture is an architectural style whose beginnings can be traced back to the middle of the 12th century. At its inception, it was simply referred to as “French Style” or “Christian Pointed” architecture. The term gothic wasn’t used until sometime later (perhaps 15th or 16th century). The word “Gothic” when referring to architecture, was a term applied by Italian architect Giorgio Vasari (1511-1574). It referred to the Visigoths, a Germanic tribe, referred to simply as the "Goths". It was believed that this tribe had been involved in the fall of the Roman Empire. (1). Some thought this new form of design to be crude or ugly, hence the word “Gothic”. However, this could not be further from the truth. The Gothic style of architecture allowed cathedrals to be built with immense verticality and an abundance of light. As Pope Benedict XVI stated in a General Audience Address, “It [Christian faith] also inspired one of the loftiest expressions of universal civilization: the cathedral, the true glory of the Christian Middle Ages.”(2)

The Gothic movement took hold sometime around 1135 when Abbot Suger decided that his church, the Abbey Church of Saint-Denis, needed to

be reconstructed. He wanted a style that would best reflect the influence of the monarchy as well as create a space that could accommodate the multitude of people who came to visit the burial place of Saint-Denis, who was a martyr and the patron saint of France. The church was the burial place for much of France’s monarchy. This style quickly caught on and became the main type of design. The cathedral of Saint-Denis had become the benchmark that other cathedrals would strive to attain.

The reconstruction of Saint-Denis gave rise to a renewed interest in ecclesiastical architecture. However, many other factors contributed to this “cathedral building boon”. To start with, there was a peace that had finally settled among the lands, which created political stability. As a result of this stability, trade routes expanded, bringing with them new ideas and a broad cultural exchange. This lead to experimentation with groundbreaking ideas in architecture, making possible the development of a distinct design that would later become known as the Gothic style.

The first innovation that was seen in Gothic architecture was the use of the pointed arch. The technical definition of a pointed arch is an archway with curved sides that meet at a point, rather than a smooth semi-circular curve. (3) The pointed arch wasn’t a new idea, per se. The pointed arch, or ogival arch, was seen in much of Middle Eastern architecture, most notably in the Islamic mosques. Builders saw the benefits of using this feature because the pointed arch would direct the weight of the window openings straight down along the edges and into the ground. This would allow them to create larger window openings for the grand stained glass windows. The windows would flood the cathedral with a kaleidoscope of colours giving the whole interior an ethereal feel.

Another innovation of Gothic architecture was the use of the flying buttress. The definition of a buttress that stands apart from the structure that it supports, and is connected to it by an arch (flyer). (4) The flying buttress supports the weight and horizontal thrust (5) of the high arches, serving as a sort of bridge. They also carry the lateral thrust (6) that is produced at the base of the arches, across to the outer buttresses, which are substantial enough to absorb the pressure. This, then, would allow interior walls to become thinner and the piers to become slimmer. The buttresses were also detailed works of art, adding to the overall appearance of the cathedral.

Yet another innovation of Gothic architecture was the use of ribbed vaults and ribbed groin vaults. These are the large structures that comprise the ceiling of the cathedral. These vaults had numerous advantages. They gave more flexibility when building roofs and walls, they were easier to construct, and they were stronger and more economical to build. And like the previous two innovations, the ribbed vault also transferred pressure from the ceiling to the piers below. In addition, like the other two, the vaults opened up the space, allowing for more light.

While these elements separately were not new, with the reconstruction of Saint-Denis utilizing all three, it was the first time they were used together in a building. Many of these beautiful cathedrals are still standing today, which shows how durable and well-built these buildings are. You don't have to be a Christian or of any faith, really, to relish in the amazing architecture and splendid design that are these cathedrals. I hope some of this history has inspired you to take your own look at Gothic architecture.

Saint-Denis as it stands today.

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1. https://www.answers.com/Q/What_did_gothic_originally_mean
2. https://www.catholicculture.org/culture/library/view.cfm?recnum=9192
3. https://study.com/academy/lesson/what-is-a-pointed-arch-definition-architecture.html
4. http://oer2go.org/mods/en-boundless/www.boundless.com/definition/flying-buttress/index.html
5. Horizontal Thrust: When the weight of the vaults on the walls forces the walls outward.
6. Lateral Thrust: The force that moves vertically at the top of an arch or horizontally where the vault meets the vertical walls.

A Gothic Disaster: St. Peter of Beauvais Cathedral

The Cathedral of St. Peter of Beauvais was an ambitious project with lofty goals. It was supposed to be bigger and better than the other cathedrals being built at that time. But, it was not to be. Instead, Beauvais Cathedral wound up as one of the most unluckiest projects of its time, the unfortunate victim of its own elaborate architectural plan, which was hindered by both funding problems and structural defects. Construction would be halted numerous times for numerous reasons. It has never been completed. The church has only its transept, choir, apse and seven apsidal chapels.

Construction started on the eastern transept, in 1225 and it was meant to become the grandest church in all of France. When the cathedral opened in 1272, it was the tallest monument for four years straight, standing at 159 ft at its tallest point. However, in 1284, the choir vault along with several flying buttresses, collapsed. This collapse was a turning point in Gothic architecture, as now masons were hesitant to build such tall structures.

After the collapse, work started immediately to shore up the remaining parts. But, after the death of King Charles IV of France, who left no male heir to carry on his reign, unrest and warring broke out. And thus started The Hundred’s Year War, halting any further progress on repairs to the cathedral. Luckily there was only minor damage to the cathedral and, 150 years after the original construction started, once again work resumed. By this point, the cathedral styled in the late Gothic era Rayonnant style. 20 years after work started, it’s architect, Martin Chambiges, dies. This explains the fact why the turrets of the roof are in more of a Renaissance style. And, once again, the transept is completed.

For whatever reason, it was decided that instead of building a nave, the money would go to build a grand spire (this would, later, literally prove to be the cathedral’s downfall). It took six years to complete and was almost 502 feet tall, making the cathedral the tallest building in the world! But, as luck would have it, on April 30, 1573, the spire and three levels of the Bell tower collapsed. Fortunately no one was killed. So, once again, construction and repairs start. In 1600 plans to build the nave begin, but only one arch is completed. Without a nave for some support, it left the cathedral in quite the precarious state.

Ruins of Beauvais, c 1940

Wars were a real jinx to Beauvais. In 1793, during the French Revolution, the church was ransacked. All the statues in the doorways were beheaded and the interior desecrated. During the bombings in World War II, the cathedral was further damaged, BUT, it did remain standing! Most of the stained glass windows were destroyed and the organ rendered useless.

In 1993, things began shifting once again. The north transept had four large wood-and-steel lateral trusses at different heights, installed to keep it from collapsing. Also, the main floor of the transept is punctuated by a much larger brace that juts out of the floor at a 45-degree angle. It was placed as an emergency measure to give additional support to the pillars in an effort to stave off any further movement. Then, in 2000, scaffolding was erected around the façade, as renovations and solidification of the building began.

Looking down the choir to the east end of the Cathedral and the axial Chapel of the Virgin.

Abbot Suger and St. Denis: Blending Past, Present and Future

My first writing assignment for my course on the Gothic cathedrals. The essay is limited to 250 words (give or take), so that's why this is so short. I chose to focus on the architectural side, since that's mainly what I am studying about. Thought I'd share it with you all. Feel free to leave a critique or a comment.

Prompt: Abbot Suger wrote the innovative sentence, “The study of the past is the promise of the future.” Using what you have learned, discuss three ways in which the past, the present, and the future are combined at Saint-Denis. You may refer to architectural design, sculptural or stained glass motifs, or literary themes that bring the past into the present and point toward the future.

When Suger planned for the renovations at the Abbey Church of St. Denis, he knew he couldn’t demolish the old church to make way for the new. The church had a rich and important history. He needed to find a way to blend the old with the new.

St. Denis was a site for Christian pilgrimages. This was an integral part of its history. The abbey itself could be considered a reliquary because not only was much of France’s nobility interred there, but it was also believed that the church had been sanctified by Jesus Christ. Suger needed a way to preserve the history. He did this by using the stones and other materials from the original church to rebuild St. Denis. As an old Medieval proverb states “A building torn down is already half rebuilt”.

Even though Abbot Suger is equated with the beginnings of Gothic architecture, at the time he began the reconstruction of the abbey, Romanesque design was still utilized. It was in this style, but with some innovative changes, that morphed into what we know today as French Gothic architecture. Suger equated light with divinity, so he wanted the interior space of St. Denis to convey this. Gone were the thick walls and small windows of the Romanesque style. He used large stained glass windows as a way to achieve this lightness. They were, in essence, the walls of the church. It would be heavenly.

In conclusion, Suger was able to blend past, present and future by employing existing building design and materials with his vision of opening up the church to accommodate more people, his belief that light is equal to divinity and maintaining St. Denis as a reliquary.

Duomo di Milano

Cathedral Church of Milan

The Cathedral Church of Milan is located in the northern part of Italy, in Lombardy. It is dedicated to the Nativity of Mary, as we have seen in other cathedrals of this time. The church serves as the Archdiocese of Milan, which is Europe's largest diocese. It is also the largest church in Italy (excluding the Vatican), and 3rd largest in the world. The cathedral took 600 years to complete (with "official completion" in 1965 when the last bronze door was installed. However, most parts of the cathedral had been completed in 1813). Milan Cathedral is located in the central point of the city, with the layout of city built around the cathedral, with streets radiating or circling it. At that time, it was common to have cathedrals in the center of a city, and the city built around  it.

Construction of the cathedral began in approximately 1386, at the height of Gothic architecture. The cathedral features a variety of architectural styles, as architects from many different countries brought their own styles. The church was initially designed in a Gothic style, however, many other architectural styles were gradually blended into the design of the church. Some of the styles include Neo Classic, Baroque, and Decorative Gothic, which is the main style. The many spires featured on the roof is representative of the Gothic style.

Central nave of Milan Cathedral

In 1452, work was completed on the nave and six nave arcades. However, it wasn’t until the end of the 15th century when work was started on the tiburium, or lantern tower. Artists such as DaVinci were commissioned to design the dome.

Quadroni di San Carlo

As the Catholic Reformation was taking hold in the 16th century, the building of the cathedral was influenced by it as well. The style began to mirror that which would become known as the Vatican, in Rome. One can see the influence of this in the presbytery, side altars, crypt, baptistry and floor of the cathedral. Also, the Quadroni di San Carlo, a series of paintings depicting the life of St. Charles, as well as the wooden choir are further examples of the creative influences during this phase of construction.

Construction on the cathedral continued for several centuries. The 16th century saw the beginnings of the design phase for the facade and the foundation laid. However, it wasn’t until the end of the 18th century that a design plan was finally decided upon and work was able to resume. With the completion of the facade, spires were erected and the stained glass windows installed, as well as the placement of the statue of the Madonna (designed and built by Carlo Pellicani, in 1774).

The golden statue of the Virgin Mary sits atop the highest spire of the Milan cathedral.

In the early part of the 20th century, restoration on older parts of the cathedral had begun, even as construction continued on other parts of the cathedral. A building such as this takes on a life of its own because of the complex nature of its design. We see that construction and restoration can happen side-by-side.

Gothic Cathedrals as Urban Phenomena

This is my essay for this week for my course on The Age of Cathedrals. Here is the prompt: Gothic cathedrals are urban phenomena. Discuss three ways in which we see the connection between cathedrals and the life of the city.

The Gothic cathedral as an urban phenomena can be seen as such because the cathedral would come to serve many functions besides being the seats of local bishops and archbishops. The cathedrals had become an urban oasis and a focal point of the community.

The physical church itself served as a hub for feeding the poor, a quiet space for contemplation, to worship God as well as to bask in the beauty and lightness of the cathedral as a means of escaping their dull world. Rather than a cathedral being built around the existing city, the cities of this time period grew around the cathedral. With more and more people populating the cities, and with Catholicism being the “official” religion, the cathedrals became an important part of life.

From a financial standpoint, the cathedral was often the hub of the city’s commerce. With the return of commercial activity, money began to come into the cities. This was, in part, due to the rise of trade routes, markets and fairs. An example of this is the Fair of Lendit, near the Cathedral of St. Denis. In addition, cathedrals often held religious relics, which brought people from all over seeking out these relics on pilgrimage trails. These travelers brought a much needed boost to the economy through patronizing the many vendors who would fill the cathedral square; it was there that the weary travelers would spend their money.

Education was another key element of the urban cathedral. Cathedrals such as Notre Dame de Paris and Chartres became true centers of learning. The Schools of Chartres was very famous during this era because it attracted a great many scholars of that time. It also gave rise to the Scholastic philosophy that we see with Peter Abelard. There was a shift in thinking from the theological to the philosophical, as well as tempering spiritual belief with logic and reasoning. People believed that in seeking knowledge it would bring them closer to understanding God and His divinity. And it was through this, that the university would come to be an important factor in the developing culture of the city as well as becoming the foundation for modern day universities and colleges.

Divine Dimensions and God’s Golden Ratio

Slightly different tack here…thought I’d explore an ancient mystery of celestial numbers and The Golden Ratio. I hope you enjoy reading about this legend!

The true meaning of Phi?

When the great cathedrals were being built, who drew up the plans? How were the dimensions decided upon? Some say that the cathedrals were built using a mathematical formula called the Golden Ratio (In math, it is 2 numbers whose ratio is the same as the ratio of their sum to the larger of the two quantities. It is represented by the Greek symbol for Phi Ф). Please don't ask me to explain this because I really suck at math. I have added a link to a theology blog explaining this. Or, if you're really math savvy, you can go look it up and work it out for yourself!

 If you read “The DaVinci Code” or other such novels, or you’ve seen the Nova special on PBS “Building The Great Cathedrals”, you may be somewhat familiar with this legend. The Golden Ratio alluded to the perfection of a universe that could only be designed by God. Could there really be a hidden mathematical code that unlocks the secrets of Gothic cathedrals embedded in the stone and stained glass? Witness the labyrinth on the floor of Chartres Cathedral. Another mystery.

Experts have explored an interesting theory: a hidden mathematical code, taken from pages of the Bible, and used as a blueprint for designing the great cathedrals. “People were using the proportions by which God had created the universe”, states Jacqueline Jung from Yale University, and an expert in Gothic cathedrals. Medieval priests saw God as the Supreme Mathematician, a Divine Geometer, who used these sacred dimensions when creating the universe.

This theory was tested using present day technology. Stefaan Van Lieffering, a physicist and art historian, and his associates, used a laser scanner to measure two floors of Notre Dame de Paris. The height of each floor was 32.8 ft top to bottom. However, it had to be taken into account that the Medieval builders used a slightly different measurement called the Royal foot (which is 12.789 inches). So, upon conversion, the height of Notre Dame’s two floors were each 30 Royal feet, bringing the total to 60 Royal feet.

An illustration of what the Temple of Solomon may have looked like.

Van Lieffering did some research. He came upon a 12th century manuscript and found this passage, taken as a quote from the Old Testament in the Bible, “It was 30 cubits high, up to the first floor, upon which a second dwelling was built up to the second floor, also 30 cubits” (1 Kings 6:2-11). It was describing the Temple of Solomon, in Jerusalem. However, it also was describing the Cathedral of Notre Dame de Paris. Joan Branham of Providence College adds, “We can analyze medieval manuscripts that show the Temple of Solomon, and guess what it looks like? It looks like a Gothic church.” Abbot Suger believed that his church, The Abbey Church of St. Denis, had recalled the glory of what the Bible calls God’s house on Earth, the Temple of Solomon. Joan Branham explains further, “Abbot Suger associates St. Denis with biblical prototypes, especially the Temple of Solomon….”

Stephen Murray, professor emeritus of Medieval Art History at Columbia University, has gone looking for further answers on the divine dimensions. He went to Amiens Cathedral, where he starts  measuring the area at the very center of the cross, where the four central columns form a square. “The geometric code that gives the shape of this building involves a great square that sits right here in the middle.” It would seem that each side of the central square measures almost exactly 50 Roman feet, the same unit of measurement used by the Medieval builders of Amiens. Fifty also happens to be an important number from the Bible because God tells Noah to build an ark that is 50 cubits wide, to save him from the flood. Murray goes on to explain “Noah’s ark was 50 cubits. This is 50 feet. And this lies at the heart of the building.” It looks like the Medieval builders who constructed the cathedral at Amiens used a measurement from the Bible in which to build their cathedral.

Murray and his colleagues decide to measure the height of the cathedral down to the nearest millimeter. They choose one of the keystones and drop a plumb line to the floor below. Their measurement, 42.55 meters. They convert the number to Medieval units of measurement and come up with the number 144. In the Bible, the Book of Revelations, Heaven is referred to as The City of God. It’s height…144. Murray explains this, “This is the Book of Revelation, the vision of Saint John the Divine: As John measures the city, he finds it’s 144 cubits.”

The investigation continued to the other cathedrals in the region. Their findings were exactly the same. The builders at both Amiens and Beauvais used the height of God’s heavenly city in the Bible to design the height of their cathedrals. The experts believe that it was possible that medieval architects used the measurements from the Bible as a blueprint for building their cathedrals. By using these “sacred numbers” it would seem that Gothic engineers tried to make their cathedrals a sort of Heaven on Earth, a sacred place for medieval minds to take a break from their daily lives to replenish themselves in the lofty heights of these heavenly sanctuaries.

There is quite a bit more, but this is the gist of it. Much of this was taken from the Nova/PBS documentary “Building The Great Cathedrals”. I hope you enjoyed the topic! I may do more in the future.

• https://www.pbs.org/wgbh/nova/video/building-the-great-cathedrals/ 

• https://www.goldennumber.net/theology/ 

Medieval Sourcebook: Abbot Suger On What Was Done In His Administration

This is an excerpt of a reading assignment that I had from my course on "The Age of Cathedrals" from Coursera. It gives a more in depth look at Abbot Suger and the Cathedral of Saint Denis. It is one of two works by Suger concerning the abbey church of St. Denis and was probably begun shortly after the consecration of the choir in 1144 and finished no earlier than the end of 1148. All of the work that has survived is reproduced here. **Disclaimer: This is not my own work. I added it simply because of the information it provides.**
 

Abbot Suger

Some background: Suger was born in 1081 of a very minor knightly family. He was dedicated to the abbey of St. Denis at the age of nine or ten and came to see himself as its adopted child. Appointed abbot in 1122, he held that position until his death in 1155.

The abbey had been founded in the seventh century by the Frankish king Dagobert in honor of Denis, the patron saint of France, and his legendary companions Rusticus and Eleutherius. By Suger’s time it had long been the royal abbey of France. Kings were educated and buried there.

At this time, the French monarchy was slowly but surely on the way up. The king was gradually gaining power over his unruly nobles and would eventually use that power to win a major role in European affairs. Most of that development was still in the future, but by 1137 the pendulum was already beginning to swing. As royal abbey, St. Denis was a symbol of royal power, and what was done to it resounded the glory of both the monarch and France. The renovation was not just an architectural and religious event. It spoke to the politics of the time and the importance of the nobility.

Suger was in a position to recognize this fact. His office was a highly prestigious one, and as abbot, it made him one of the most powerful men in France. He was actively engaged in French political life and virtually ran the kingdom while King Louis VI was away on crusade. A fervent patriot, Suger never hesitated to identify the best interests of king, France, Church, abbey and God.

The old abbey church of St. Denis had been completed in 775. By 1137 it was dilapidated and probably would have been viewed with extreme suspicion by a modern building inspector. Thus Suger decided improvement was in order and in that year he began work on the west end of the church, building a new facade with two towers and three doors. In 1140 he moved from the west end clear to the other end of the church and started to build a new choir. It was completed in 1144. The result was a major event in the history of architecture. Gothic was born.

The influence of the abbey church on French architecture was undoubtedly furthered by its role as political symbol. When the new choir was consecrated in 1144, five French archbishops and thirteen bishops took part in the ceremony, an impressive tribute to Suger and his king. It was the French archbishops and bishops who would assume initiative in the future development of Gothic architecture. For Suger, of course, the primary significance of his church was neither political nor architectural but religious, insofar as he could separate the three. His main goal was to honor God and St. Denis.

Saint Denis holding his head

According to legend, Denis entered Gaul as a missionary in A.D. 250 and was executed in Paris eight years later. It was not all that easy. The Romans unsuccessfully tried roasting him on a gridiron, throwing him to the beasts, and baking him in an oven before they hit upon the idea of beheading him. That worked, but not immediately, for the decapitated saint picked up his head and walked two miles to the future site of the abbey before giving up the ghost.

However wonderful his legend may seem, medieval historians made it even better by confusing him with two other figures of the same name. “Denis” is the French version of the Latin “Dionysius,” the name Suger actually used. We encounter another Dionysius, in the Holy Bible, Acts 17:34, converted during Paul’s brief missionary visit to Athens. Five centuries later, in the late fifth or early sixth century, an anonymous Syrian theologian fascinated by the religious symbolism of light wrote a series of treatises which were attributed to the Dionysius of Acts 17:34. Eventually all the elements were combined and, according the legend, Dionysius was converted by Paul, became bishop of Athens, wrote the treatises, and eventually missionized France where he was martyred.

The identification is more important than one might at first imagine. The figure of St. Denis united the various aspects of the church in a peculiar way. As patron saint of France, his interests were tied to those of France in a twofold sense. His glorification was in a very direct way because he symbolized France. More indirectly because, like other saints, Denis would not neglect to reward a favor, and thus one could expect him to intervene for king and country more enthusiastically if his church was generously endowed.

Denis also united the religious and architectural aspects of the new church. It is hardly a coincidence that both the pseudo-Dionysian treatises and nascent Gothic architecture are interested in light. Suger himself was fascinated by the religious implications of light and built accordingly.

You can read Suger's treatise here: https://sourcebooks.fordham.edu/source/sugar.asp