The Goths held power in various regions of Europe, between the collapse of the Roman Empire and the creation of the Holy Roman Empire. The term Gothic does not come from this time period but became applied to later architectural styles in Europe. Gothic architecture went away from the basic building styles that previously existed while still utilizing elements from previous architectural styles. This architectural period is one of the best documented and demonstrates connections from classical architecture, as well as the Romanesque period and Islamic architecture. Chartres Cathedral serves as an early example of gothic architecture and offers examples of the structure and ornamentation of the early gothic period due to the relatively flat decoration on the facade. Although the facade is fairly modest compared to other gothic cathedrals it is important because it is an example of one of the earliest fully finished sculptural facade programs of the gothic period. Due to the use of new technologies in construction methods the cathedral opens up the walls and emphasizes the rise towards the ceiling to focus on the linearity of the space as well as for the walls of stained glass.
The most iconic element of Gothic architecture is the pointed arch, which was borrowed from Islamic architecture, this helped emphasize the slimness of the space and led to highly detailed ornamentation. In particular Chartres Cathedral demonstrates how gothic architecture incorporates the past and redefines these elements to create these intense vertical spaces. Chartres served at the center of the city for both religious and governmental events. The site was chosen due to the Virgin Mary’s relic which attracts tourist to this day. Chartres lies on the western edge of ile-de-France region which was controlled by the King. This area was where gothic architecture originated. The cathedral was rebuilt in 1194 after a fire, the new church sits on top of a hill. Although the site looks like it is too big for the 10,000 residents for the city, The Virgin Mary relic withstood the flames and still exists, this miracle continues to attract more pilgrims. The site serves as the Christian axis mundi in the heart of France.
Due to the kings impact in the spread of gothic architecture there are multiple examples of these influences throughout Chartres. For example some of the Windows conveyed the patronage of the space, King Philip Auguste appeared along with the count of Dreux and his family who appear in the southern window wheel. Another example of patronage is the Queen Blanche of Castile who financed the north transept window. Many families of nobility had their coat of arms included in the building. The king in particular used his patronage to discourage the power of nobility feuds, while the bishop used the space to encourage participation of the merchant class. The funding for the cathedral came from the city’s successful grain trade and silver mines which were owned by the church. Therefore, the cathedral grew as a symbol of the city’s prosperity through trade as well as serving as the center of faith, court, and theatrical events for the community.
The city has gone through major changes in regards to safety and security. In 1256 Louis IX ordered the top of the hill to be walled in-order to protect the cathedral and surrounding buildings. In the mid thirteenth century the city was reopened for the public but remnants of the wall were left behind, called rayonnants. The land which Chartres is on not only served as the space for the cathedral but other public spaces such as the School of Chartres which was an important learning center focusing of liberal arts and recognized a connection of knowledge to divinity. The school primarily studied the Greeks and Romans, this connection can be seen in some of the sculptures in particular the west facade of Chartres.
The cathedral is based on the Basilica plan which is borrowed from the Romans, featuring a longitudinal floorplan, entrance on one end opposite that is the apse. The cathedral is characterized by a longitudinal body with a nave and two aisles and an elevation on three levels arcade, triforium, and clerestory. The nave is crossed by a short transept and ends in a deep ambulatory with radiating chapels. On the sides of the nave there are aisles known as auxiliary hallways so that pilgrims could move through the apse without interrupting the mass that was going on. Within the nave they also utilized ribbed vaults, with piers that alternate around as well as octagonal columns that support the pointed arches of the lower arcades that interrupt the continuity of the shafts which hold the ribbed vaults. Another form of structural support was the flying buttresses on the exterior as they go from heavier to lighter, giving a similar affect as the columns. The buttresses also held the thrust from the building by distributing the weight to tower like piers. The Tribune, which is between the lower arcade and the upper clerestories opened to stained glass windows.
High Gothic Architecture features a three-part elevation which consists of a nave arcade with tall pointed arches. On top of that is an arcade in front of a wall, triforium, and a clerestory with two lancet windows and an oculus. The piers and columns on the sides of the three-part elevations demonstrates the interest in linearity. The four-part ribbed vaults allowed for greater height which pushes thrust down more then out requiring less material for the buttress. These architectural features are necessary for the stained glass windows which fill the walls of the cathedral, which exemplifies improvements offered by Gothic architecture. The towers on the west facade recall romanesque architecture with narrow windows and rounded arches, this showed that architects were still nervous about holding up the enormous weight of the stone; therefore, the windows were smaller making way for more structural materials.
The facade is divided both horizontally and vertically into three parts. Horizontally the facade has two towers and a central area. Vertically the space is made of three kings galleries with old testament royal figures, below that it a round rose window which was typical in gothic architecture utilizing plate tracery with a greater sense of stone, three large lancets, and vertical windows below that with three portals. The entrances are covered with sculptures as well as gothic portals which are at the top are sculptures within the archivolts and in the archway, tympanum. Below is a lintel supported by collonets which serve as dorm jambs and jamb figures, angled inward. All of these elements create a fairly modes front. The standard tri-part tympanum is rejected in Chartres. The standard design was that on the left the relief depicted the Ascension of Christ, the largest of the three showed the second coming of Christ, and the right showed scenes of the Virgin Mary. However, the Chartres Tympanum depicts Christ before the incarnation, a Christ out of time, below him are four angles which show before human time. On the right is the moment of Christ’s Birth and the presentation in the temple, which represents Christ taking on human form. The center is the second coming of Christ, representing the end of time. This new Tympanum design exemplifies a period of Christ’s life before time, human time, and at the end of time.
Due to the new architectural features of Gothic cathedrals the walls of the Cathedral were filled with beautiful stained glass, which is believed to express divinity. The mostly deep colors, blue, red, and gold, creates a space that refracts light. These colors are also seen as a luxury because at the time paintings were rare and the clothing they wore utilized mostly earth colors. Therefore, these windows are not only vertically impressive but at the time the colors also hold more significance in the citizens experience. Some of the figures within the stained glass also represent divine figures. An example of this is the Our Lady the Virgin stained glass where the blue contrasts the red, Mary is frontal holding the baby Jesus. She is represented as the throne of wisdom and she is elongated to be shown as a heavenly image. The North Transept rose window has five transepts all payed for by the Blanche of Castile, the mother of King Louis IX who was a major patron of Gothic architecture. The Fleur-de-lis is also seen throughout the stained glass windows referencing the French monarchy. In the center of the window Mary is again holding the Christ child surrounding her are doves, angels, prophets, and kings. On the two transepts on either side of Mary are the virtuous and villainous kings and lancet priests represented.
The three windows of stained glass over the three doors of the portal royal have survived the multiple fires of Chartres and received minimal restoration to preserve the initial windows. They offer a glimpse at some of the first Gothic stained glass pieces focusing on the Life of Christ, the Tree of Jesse, and the Scenes of the Passion. Throughout the Cathedral we can see the overlay of multiple different design styles overlapping to create a new sense of space thru vertical elements and walls of stained glass. Throughout time gothic architecture has been preserved well and remains one the best documented periods of architecture.