High Gothic
Location | France |
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High Gothic followed
It started with
The style first appeared in the second decade of the 13th century. One distinctive characteristic was the use of tracery, or thin ornate ribs of stone, to divide windows and walls and emphasize verticality. another was the elimination of the tribune between the lower arcades and the upper windows. This was made possible by the development of advanced forms of the rib vault and flying buttress. These developments made making possible much greater height and larger windows which filled the churches with light.[1]
Origins
The new style illustrated the ambitions of the French kings of the
The royal patronage of cathedrals and other Gothic architecture was continued by Louis VIII of France and especially Louis IX of France, or Saint Louis; who paid for the transept rose windows of Notre-Dame and built Sainte-Chapelle as his royal chapel.[3][1]
Some funding for cathedrals came from the royal treasury, and from surprising foreign sources. The construction fund for Chartres Cathedral received contributions both from the French King and
Examples
Reims Cathedral (begun 1211)
Reims Cathedral was the traditional site of the coronation of the Capetian dynasty and for that reason was given special grandeur and importance.[1] A fire in 1210 destroyed much of the old cathedral, giving an opportunity to build a more ambitious structure, the work began in 1211, but was interrupted by a local rebellion in 1233, and not resumed until 1236. The choir was finished by 1241, but work on the facade did not begin until 1252, and was not finished until the 15th century, with the completion of the bell towers.[5]
Unlike the cathedrals of Early Gothic, Reims was built with just three levels instead of four, giving greater space for windows at the top. it also used the more advanced four-part rib vault, which allowed greater height and more harmony in the nave and choir. Instead of alternating columns and piers, the vaults were supported by rounded piers, each of which was surrounded by a cluster of four attached columns that received the weight of the vaults. In addition to the large rose window on the west, smaller rose windows were added to the transepts and over the portals on the west facade, taking the place of the traditional tympanum. Another new decorative feature, blind arcade tracery, was attached to both interior walls and the facade. Even the flying buttresses were given elaborate decoration; they were crowned by small tabernacles containing statues of saints, which were topped with pinnacles. More than 2300 statues covered both the front and the back side of the facade.[5]
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Main portal and side portal, with rose windows
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Buttresses of Reims Cathedral with pinnacles for additional weight
Amiens Cathedral (1220–1266)
Amiens Cathedral was begun in 1220 with the ambition of the builders to construct the largest cathedral in France, and they succeeded. It is 145 m (476 ft) long, 70 m (230 ft) wide at the transept, and has a surface area of 7,700 m2 (83,000 sq ft)}.[6] The nave was finished by 1240 and the choir built between 1241 and 1269.[6] Unusually, the names of the architects are known: Robert de Luzarches, and Thomas and Renaud Cormont. Their names and images are found in the labyrinth in the nave.[6]
The immense size of the cathedral required foundations 9 m (30 ft) deep. The nave has three parts and six crossings, while the choir has double collaterals, and ends in a semicircular disambulatory with seven radiating chapels. The three-level elevation of Amiens, like that of Reims, preceded Chartres Cathedral, but was notably different. The great arcades have a height of eighteen meters, equalling the combined heights of the triforium and the high windows above them. The triforium was more complex than Chartres, and had triple bays with trefoil windows, composed of two slender pointed lancet windows topped with a clover-like rose window.[6] The high windows also had a strikingly complex design; in the nave, each was composed of four tall lancet windows, topped by three small roses; while in the transept the upper windows have as many as eight separate lancets.[6]
The vaults have the exceptional height of 42.4 m (139 ft). They are supported by massive piers composed of four columns which give the nave a striking sensation of verticality. The height of the walls, particularly in the chevet, was made possible by the tall flying buttresses, making two leaps to the wall with the support of an elegant system of arches.[6]
On the exterior, the most remarkable High Gothic feature is the quality of the sculpture of the three porches, decorated altogether with fifty-two statues in their original condition. The most celebrated are on the central portal on the west, dedicated to the Last Judgement, and dominated by the statue of Christ giving a blessing which forms the central column of the doorway.[7] During the intense cleaning of the Cathedral in 1992, traces of paint were discovered indicating that all of the sculpture of the exterior was originally painted with vivid colors. This is now sometimes reproduced by projecting colored light onto the cathedral at night.[7]
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Nave (before 1235) with dark triforia
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Rayonnant choir (after 1236) with lit triforium
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Chevet/apse
Beauvais Cathedral (begun 1225)
Beauvais Cathedral in Picardy is in its principle structures an example of Rayonnant Gothic. It was the most ambitious and most unfortunate of High Gothic projects. Its ambition was to become the tallest of all cathedrals. The choir was built with a height of 48.5 meters (159 ft) However, due most likely to an inadequate foundation and support, the choir vaults fell in 1284. The choir was modified and rebuilt, the polygonal apse and Flamboyant transepts were finished, and in 1569 a new central tower was added, 153 meters (502 feet) high, which made Beauvais for a time the tallest structure in the world. However, in 1573 the central tower collapsed. Some parts were modified or reconstructed, but the tower was never rebuilt and the nave was never finished. Today supports are in place to stabilise the transept. Beauvais remains a majestic but unfinished piece of High Gothic architecture.[8]
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From the west
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From the east
Cologne Cathedral (choir 1248–1322, western parts 1880)
The construction of the
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Seen from the east
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Choir with lit triforium
Utrecht Cathedral
The
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Apse and chapels, outside
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Choir, inside
Characteristics
Plans
The plans of the High Gothic Cathedrals were very similar. They were extremely long and wide, with a minimal transept and maximum interior space. This made possible much larger ceremonies and the ability to welcome larger numbers of pilgrims. One curiosity of the plan of Chartres Cathedral was the floor, which slightly sloped. This was done to facilitate the cleaning of the cathedral after the departure of pilgrims who slept inside the church.[9]
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Reims Cathedral, begun in 1211
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Amiens Cathedral, 1220 – c. 1266
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Beauvais Cathedral, 1190s–1255, the nave, in this plan the lower portion, was never constructed
Elevations
Thanks largely to the efficiency of the flying buttress and six-part rib vaults, all of the major High Gothic cathedrals except Bourges used the three-level elevation, eliminating the tribunes and keeping the ground floor grand gallery, the triforium, and the clerestory, or high windows. The upper windows in particular grew in size to cover almost all of the upper walls. The arcades also grew in height, occupying half the wall, so the triforium was just a narrow band.[10] The upper windows were often made of translucent grisaille glass, which allowed more light than colored stained glass.[11]
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The elevation of Chartres, with the gallery at the bottom, Triforium in the middle, and clerestory at the top
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Vaults triforia and upper windows of Amiens Cathedral[11]
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Three-part elevation of nave of Reims Cathedral
Vaults, piers and pillars
All of the High Gothic Cathedrals except Bourges Cathedral used the newer four-part rib vault, which allowed more even weight distribution to the piers and columns in the nave. Early Gothic churches used alternating piers and columns to support the varying weight from the six-part vaults,
In 1192 Notre Dame, which had six-part vaults, had introduced a new kind of support; a central pillar surrounded by four engaged shafts. The pillars supported the gallery, while the shafts continued upwards as colonettes attached to the walls and supported the vaults. Variations of this kind of support gave greater harmony to the appearance of the nave. They frequently had capitals which were decorated with floral sculpture. They appeared at Chartres and then were found, in various forms, in all of the High Gothic Cathedrals.[10]
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The massive pillars, surrounded by colonettes, and topped with floral capitals, of Reims Cathedral
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Transept vaults and pillars of Amiens Cathedral
Flying buttress
The
Flying buttresses had been used to support the upper windows of the apse in the
Similar buttresses were added to each of the High Gothic Cathedrals. The buttresses of each cathedral were unique, and had its own distinct form and decoration. The buttresses of Beauvais Cathedral, the last and tallest High Gothic cathedral, are so high and numerous that they practically hide the cathedral.
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Double arches of the apse of Reims Cathedral, capped with stone pinnacles for greater weight
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Flying buttresses of Amiens Cathedral
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Buttresses practically conceal the choir of Beauvais Cathedral
Stained glass and The Rose Window
A type of small round window, called an
Not long after the introduction of the High Gothic rose window, Gothic architects, fearing that the interiors of the cathedrals were too dark, began experimenting with grisaille windows, which emphasized the important figures in the windows, and also brightened the interiors. These were used at Poitiers Cathedral in 1270 and then by Chartres Cathedral around 1300. Large bands of translucent gray glass were put around the fully colored figures of Christ, The Virgin Mary, and other prominent subjects.[11]
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Glass in the choir of Amiens Cathedral
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West rose window of Reims Cathedral (1252–1275)
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Windows of Beauvais Cathedral
Tracery
The west window of Chartres Cathedral used an early form called plate tracery, a geometric pattern of openings in the stonework filled with glass. Prior to 1230, the builders of Reims Cathedral used a more sophisticated form, called bar tracery, in the apse chapel. This was a pattern of cusped circles, made with thin pointed bars of stone projecting inward.[17] This model was followed and developed in the transept windows of Chartres Cathedral, at Amiens Cathedral and the other High Gothic cathedrals. After the middle of the 13th century, the windows began to be decorated with even larger and complex designs, resembling light shining outwards, which gave the name to the Rayonnant style.[17]
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Early bar tracery at Reims Cathedral (Prior to 1230)
Sculpture
Sculpture was an integral part of High Gothic. It decorated the facades, the walls, the columns, and other architecure,inside and out. It was not considered deocorative; it was designed to serve as a visual Bible for the many parishioners who could not read.
It is probable that some of the sculptors who made the sculpture of the transepts of Chartres travelled north to Reims, where work began in 1210, and possibly also to Amiens Cathedral, where work began in 1218. Nonetheless, the sculpture of each church has its own distinct characteristics. The sculpture of Amiens shows the influence of ancient Roman sculpture, particularly in the realistically modelled drapery of their clothing. The expressions are passive, and the gestures minimal, giving a sense of calm and serenity. The sculpture of Reims showed a similar calm.[18]
The entirely different and more naturalistic High Gothic style of sculpture appeared on the west front Reims Cathedral in the 1240s. This was the work of the sculptor known as Joseph of Reims, named for the vivid smiling statue of Saint Joseph he made for the facade. He also created the Smiling Angel. This famous work was knocked off the Cathedral by a bombardment in World War I, but was carefully reassembled and is now back in its original place.[19] Reims is also noted for the Gallery of Kings, a sculptural depiction of the French Kings crowned at Reims, which begins on the facade and continues on the inside of the facade.
The vegetal decoration of the capitals of the columns of the nave were another distinctive feature of High Gothic sculpture. They were made in finely crafted vegetal forms, complete with birds and other creatures. This followed an ancient Roman model and had been used at Saint-Denis, but at Reims they became much more realistic and detailed. As the work continued toward the west in the nave, the foliage became more abundant and filled with life. This model was copied in Gothic cathedrals first in France, and then across Europe.[20]
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"The Smiling Angel" (1236–45) from Reims Cathedral
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Sculpture in the Gallery of Kings of Reims Cathedral
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Central tympanum on facade of Amiens Cathedral
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Accurately sculpted vegetation (horse chestnuts) on the column capitals of Reims Cathedral
References
- ^ a b c d e Watkin 1986, p. 132.
- ^ "Églises de l'Oise by Dominique Vermand, subpage for Beauvais Cathedral". Archived from the original on 2023-05-01. Retrieved 2023-05-02.
- ISBN 0-302-02753-X.
- ^ Houvet 2019, p. 67–75.
- ^ a b Mignon 2015, p. 26.
- ^ a b c d e f Mignon 2015, p. 28.
- ^ a b Mignon 2015, p. 29.
- ^ Watkin 1986, p. 135.
- ^ Houvet 2019, p. 23.
- ^ a b Ducher 2014, p. 42.
- ^ a b c Chastel 2000, p. 146.
- ^ Mignon 2015, p. 19.
- ^ Houvet 2019, p. 20.
- ^ O'Reilly 1921, Chapter one, Loc. 2607 (Project Gutenberg text).
- ^ Chastel 2000, p. 144–146.
- ^ Chastel 2000, p. 129.
- ^ a b c "Tracery". Encyclopaedia Britannica. Retrieved 2020-07-11.
- ^ Martindale 1993, p. 48.
- ^ Martindale 1993, p. 50–51.
- ^ Martindale 1993, p. 51.
Bibliography
In English
- ISBN 0-520-05586-1.
- Houvet, E (2019). Miller, Malcolm B (ed.). Chartres - Guide of the Cathedral. Éditions Houvet. ISBN 2-909575-65-9.
- ISBN 978-2-87811-058-6.
- ISBN 0-7126-1279-3.
- O'Reilly, Elizabeth Boyle (1921). How France Built Her Cathedrals - A study in the Twelfth and Thirteenth Centuries. Harper and Brothers.
In French
- Chastel, André (2000). L'Art Français Pré-Moyen Âge Moyen Âge (in French). Flammarion. ISBN 2-08-012298-3.
- Ducher, Robert (2014). Caractéristique des Styles (in French). Flammarion. ISBN 978-2-0813-4383-2.
- Mignon, Olivier (2015). Architecture des Cathédrales Gothiques (in French). Éditions Ouest-France. ISBN 978-2-7373-6535-5.
- Renault, Christophe and Lazé, Christophe, Les Styles de l'architecture et du mobilier, (2006), Gisserot, (in French); ISBN 9-782877-474658
- Wenzler, Claude (2018), Cathédales Gothiques - un Défi Médiéval, Éditions Ouest-France, Rennes (in French) ISBN 978-2-7373-7712-9
- Le Guide du Patrimoine en France (2002), Éditions du Patrimoine, Centre des Monuments Nationaux (in French) ISBN 978-2-85822-760-0