Royal Portal, west facade,Chartres Cathedral
The sculptures of the Royal Portal proclaim the majesty and power of Christ. The tympana depict, from right to left, Christ's Ascension, the Second Coming, and Jesus in the lap of the Virgin Mary.
Old Testament Kings and Queens, jamb statues, central doorway of Royal Portal, Chartres Cathedral
The biblical kings and queensof the Royal Portal are the royal ancestors of Christ. These Early-Gothic statue columns show the first signs of new naturalism in European sculpture.
masonry struts that transfer the thrust of nave vaults across the roofs of the side aisles and ambulatory to a tall pier rising above the churches exterior wall
One of the ribs that form the x in the groin vault.
One of the ribs that crosses the nave at a 90 degree angle
The lowest stone of an arch, resting on the impost block. In Gothic vaulting, the lowest stone of a diagonal or transverse rib.
The fenestrated part of a building that rises above the roofs of the other parts. In Roman basilicas and medieval churches, the windows that form the nave's uppermost level below the timber ceiling or the vaults.
In a Gothic cathedral, the blind arcade gallery below the clerestory; occasionally, the arcades are filled with stained glass
the series of arches supported by piers seperating the nave from the side aisles
a pier with a group, or cluster, of attached shafts, especially characteristic of Gothic architecture
Aerial view of Chartres Cathedral, Chartres France
Architectural historians consider the rebuilt Chratres Cathedral to be the first great monument of High Gothic architecture. It is the first church to have been planned from the beginning with flying buttresses.
Plan of Chartres Cathedral, Chartres, France
The Chartres Plan, in which a singe square in each aisle flanks a single rectangular unit in the nave with a four part vault, became the norm for High Gothic church architecture
Interior of Chartres Cathedral, Chartres, France
High Gothic churches consisted of nave arcade, triforium, and clerestory with stained glasses almost as tall as the main arcade
Virgin and Child and angels, detail of a window in the choir of Chartres Cathedral, Chartres France
This stained glass window has an armature of iron bands that forms a grid over the whole design, an Early Gothic characteristic
Detail of stained glass rose window north transept Chartres Cathedral
Saints Martin, Jerome and Gregory, jamb statues, Porch if the confessors, south transept, Chartres Cathedral
In contrast to the Royal Portal statues, these south-transept statues have individual personalities and turn slightly to the left or right, breaking the rigid vertical lines of there 12th century predecessors.
Saint Theodore, jamb statue, Porch of the Martyrs, south transept, Chartres Cathedral
The High Gothic sculptor portrayed the saint swinging out one hip as in Greek statuary.
Amiens Cathedral, Amiens, France
the concept of self sustaining architecture reached full maturity at Amiens Cathedral. The four part High Gothic vaults on pointed arches rises an astounding 144 ft above the nave floor
vaults, clerestory, and triforium of the choir of Amiens Cathedral, Amiens, France
The sunlight entering from the clerestory creates the effect of a buoyant lightness not normally associated with stone architecture. (reminiscent of the Hagia Sofia)
West Facade of Amiens Cathedral, Amiens, France
Sculptors covered the facade with colonnettes, pinnacles, and rosettes that nearly dissolve the structures solid core.
Interior of the upper chapel, Sainte-Chapelle, Paris. France
At Louis IX's Sainte-Chapelle, the architect succeeded in dissolving the walls to such an extent that the 6,450 sq. ft. of stained glass account for more than tree quarters of the Rayonnant Gothic structure.
Abraham and the three angels,folio 7 verso of the Psalter of Saint Louis, from Paris, France
The architectural setting in the Psalter of Saint Louis reflect the screen like lightness and transparency of royal buildings such as Saint-Chapelle. The colors emulate those of stained glass.
Virgin of Jeanne d'Evreux, from abbey church of Saint Denis, France
Queen Jeanne d'Evreux donated this luxurious reliquary-statuette to the royal abbey church of Saint Denis. The intimate human characterization of the holy figures recalls that of the Virgin of Paris
Virgin with the Dead Christ(Rottgen Pieta) from Rhineland, Germany
This ppieta is meant to make the viewer mourn with the virgin, to emphasize.
Nicholas of Verdun, Shrine of the Three Kings, from Cologne Cathedral, Cologne, Germany
Cologne's archbishop commisioned this huge reliquary in the shape of a church to house relics of the three magi.
Nicola Pisano, pulpit of the baptistery, Pisa, Italy
Pisano's baptisery retains many medieval design elements, for example, the trefoil arches and the lions supporting columns, but the panels draw on ancient Roman sarcophagus reliefs.
Nicola Pisano, Annunciation, Nativity, and Adoration of the Shepherds, relief panel on the baptistery pulpit, Pisa, Italy
Classical sculpture inspired the face types, beards, coiffures and draperies, as well as the bulk and weight of Nicola's figures. The Madonna of the Nativity resembles lid figures on Roman sarcophagi
Giovanni Pisano Annunciation, Nativity, and Adoration of the Shepherds, relief panel on the pulpit of Sant' Andrea, Pistoia, Italy
The French Gothic style had a greater influence on Giovanni. He arranged his figures loosely and dynamically. They display a nervous agitation, as if moved by spiritual passion
Cimabue, Madonna Enthroned with Angels and Prophets, from Santa Trinita, Florence, Italy
Cimabue was one of the first artists to break away from the Italo- Byzantine style. Although he relied on Byzantine models, Cimabue depicted the Madonna's massive throne as receding into space.