5.07 Early and High Gothic Architecture in France

When Louis VI, the king of France, moved his capital to Paris, the need for a new, grand cathedral was of the utmost importance. As a result, work began on one of the world's most famous churches, Notre-Dame of Paris in 1163. The interior shows sexpartite vaulting and a four-story nave elevation. Yet in this work, the triforium was replaced by oculi (small, round windows).

The walls of Notre-Dame were also thinner, taller and contained more windows than any other previous work; therefore, additional support was necessary. To this end, the architects added exposed, exterior arches known as flying buttresses in order to counter the outward force of the vaults. Henceforth, flying buttresses would became the norm for High Gothic churches.

Notre-Dame of Paris, view from the south (b. 12C) from the Digital Imaging Project

Chartres Cathedral, Chartres, France

As we learned in our last lesson, the original Chartres Cathedral had been destroyed by fire. Its replacement, begun in 1194, is considered by scholars to the be the first, true High Gothic building. As we can see from this plan, each rectangular unit in the nave had its own vault and was flanked by one square in each aisle. This new system would soon become the norm for High Gothic Churches as it further unified the interior space.

Chartres also sported a new nave elevation, featuring enlarged clerestory windows and the elimination of the gallery level (remember, the gallery helped to brace Romanesque and Early Gothic nave walls, and this was now unnecessary in the High Gothic Church due to the flying buttresses). So then, the elevation at Chartres is three stories: arcade, triforium and clerestory.

High Gothic architects did not expand the size and numbers of the windows to create well-lit churches. Rather, their primary intention was to drench the churches with a mystical light that stained glass provides.

One of the most spectacular works of stained glass is also found at Chartres. The cathedral's massive rose window is over 40 feet in diameter and is built around the centerpiece showing the Virgin and Child. The rose window is accompanied by five huge lancets featuring Saint Anne (middle lancet) and Old Testament saints.

The architectural sculpture of the Chartres Cathedral is also quite striking. Here, we see a further continuation of the trend toward naturalism.

In our selection, we have a jamb statue of Saint Theodore. Notice how the work is almost completely free of the architectural framework and how the pose is determined independently of the architectural setting as well.

The movement is also more natural (not angular) and the drapery is not stiff and is completely linear. The expression, too, is incredibly individualized and distinctive.

By now your head is probably swirling with all the new architectural vocabulary, so let us now take a moment to review what we have learned.

Be sure to print this study guide, along with the review of Romanesque and Gothic architectural sculpture below, and add them to Section "C" of your notebook.

Interior Space

• Horizontal: compartmentalized
• Vertical: moderately high

• Horizontal: unified, continuous
• Vertical: soaringly high

Elevation

Three story: arcade, gallery, clerestory

• Early Gothic: Four story: arcade, gallery, triforium, clerestory
• High Gothic: Three Story: arcade, triforium, (expanded) clerestory

¹By "Northern," we mean non-Italian. This is a very important term that we will discuss in detail in a few lessons.

Let us also review Romanesque and Gothic sculptures by comparing jamb statues. The first image below (left) is Romanesque (ca. early 12C), the next is Early Gothic (ca. late 12C) and the last is High Gothic (ca. early 13C). Examine these works as we consider the following:

• Romanesque sculpture: low relief; elongated figures; angular movement and stiff, linear drapery.
• Early Gothic sculpture: figures are out from architectural framework, but their overall shape is still defined by it (i.e., the jamb figures still look like columns); more naturalistic expressions and movements; drapery only moderately linear.
• High Gothic sculpture: figures are completely free from the architectural framework; expressions are individualized;, poses and gestures are almost fully natural; drapery is "soft" and fluid.

Saint Paul jamb statue from La Madeleine, Vezelay (ca. early 12C) from AICT

Old Testament Prophets jamb statues from Senlis Cathedral (ca. late 12C) from the Digital Imaging Project

Visitation Group and the Prophet Daniel jamb statues from Rheims Cathedral (ca. early 13C) from the Web Gallery of Art

• Notre-Dame of Paris (b. 12C)
• Chartres Cathedral (ca. early 13C)

• flying buttress

Assignment 5.07 - Term Review

After you have reviewed the cumulative terms in your notebook, complete the online assessment 5.07. Remember that your first submission should be done with a time constraint and without notes.