5.08 High and Late Gothic Architecture in France

As we stated in our last lesson, the Chartres Cathedral set the standard for High Gothic Churches. One work, which followed the Chartres model (i.e., rectangular bays, quadripartite rib vaults, flying buttress, etc.), was the Amiens Cathedral.

Yet the Amiens Cathedral was a much more elegant and elaborate structure than its predecessor. The Amiens architects (Robert de Luzarches, Thomas de Cormant and Renaud de Cormant) sought not only to greatly surpass the height of Chartres, but also to greatly increase the size and the numbers of the clerestory and triforium windows.

The facade of the Amiens Cathedral, however, was influenced by the Laon Cathedral; though, again, it is much more ornate and delicate than its predecessor.

As we can see from the chart above, pushing the structural limits in order to obtain greater and greater heights was a common feature among Gothic architects.

The combination of soaring height with a vast array of windows gave the cathedrals a luminous, slight, elegant feel (rather than the dark, heavy, coarse atmosphere in Romanesque churches). Note particularly how the vaulting in the Amiens Cathedral almost seems like a canvas tent canopy.

The most famous piece of architectural sculpture at Amiens is the trumeau statue of the central doorway depicting Christ in the act of blessing (known as the "Beau Dieu" or "Beautiful God").

Here, we see all the elements of High Gothic sculpture that we studied in our last lesson (e.g., figural form free from architectural setting, multiple drapery folds, etc.)

Christ trumeau statue from the Amiens Cathedral (ca. 13C) from the Digital Imaging Project

Reims Cathedral, Reims, France

Reims Cathedral west facade (ca. 13C), image by Jacques Mossot courtesy of Structurae

Reims Cathedral nave wall elevation (ca. 13C), image by Jacques Mossot courtesy of Structurae

The architectural sculpture of Reims is no less impressive. Our selection shows the meeting between Elizabeth (mother of John the Baptist) and the Virgin Mary, known as the Visitation (cf. Luke 1:39-45). Not only are the jamb statues completely free from the architectural setting, but they are also practically (yet not totally) classical in composition. Note especially the naturalistic poses, graceful gestures and fluid drapery.

The pose of Mary also reflects the S-shaped curve so popular with Late Gothic sculptors. Clearly, the Gothic artists were attempting to reestablish contrapposto, but it will not be until the Renaissance until statuary "stands" as naturally as it did during the classical age.

In our study so far, we have seen a striking movement toward obliteration of the walls in favor of unified space and windows. This trend was taken to new levels in the later half of the High Gothic period, where the Rayonnant ("radiant") style dominated.

The signature church of the Rayonnant style is Sainte-Chapelle in Paris. As we see in our selections below, the walls have seemingly dissolved to the point that the structure seems to be made of glass.

Sainte-Chapelle interior of the upper chapel (ca. 13C), image by Jacques Mossot courtesy of Structurae

Sainte-Chapelle interior of the upper chapel, stained glass and mullions¹ detail (ca. 13C), image by Jacques Mossot courtesy of Structurae

¹mullion - A vertical member that divides a window or separates one window from another (from the Art Lexicon).

As the Rayonnant style defines the later half of the High Gothic period, the Flamboyant style defines the Late Gothic period, which reached its height in the fifteenth century.

The name of the style was derived from the ornate tracery that gives the suggestion of thin flames. The Flamboyant style is also characterized by overlapping features (such as pinnacles before rose windows), complex views, extreme ornamentation and highly attenuated proportions. All these characteristics we see below with Saint-Maclou, the masterpiece of the Flamboyant style.

Saint-Maclou detail (ca. 16C) from the Digital Imaging Project

Saint-Maclou tracery² detail (ca. 16C) from the Digital Imaging Project

²tracery - in architecture, branching, ornamental stonework, generally in a window, where it supports the glass. Tracery is particularly characteristic of Gothic architecture (from the Art Lexicon).

• Reims Cathedral (ca. 13C)
• Sainte-Chapelle upper chapel (ca. 13C)
• Saint-Maclou west facade (ca. 16C)

• high Gothic elevation
• S-shaped curve
• Rayonnant style
• Flamboyant style
• mullion
• pinnacle
• tracery