Abstract A study of the Chartres Cathedral in France which creates a ideal depiction of the gothic form of architecture and is shown in reference to the same.
Abstract This paper describes the famous stained glass windows of Chartres Cathedral in France. The paper describes the cathedral's gothic style, the set of windows in the west facade, the rose windows that can be found in different parts of the cathedral, and the Blue Virgin Window in the ambulatory area. The paper also describes the guilded windows in the cathedral, noting that, more than with most cathedrals, Chartres Cathedral's windows area often marked to show the donor, and this is true of the so-called guild windows, or windows donated by the trade guilds.
From the Paper "The South Rose is seen with five lancet windows and dates from the 1230s. The Rose Window itself shows the Glorification of Christ, with Christ blessing surrounded by Four Evangelists and angels, then the elders of the Apocalypse, then the arms of donors to the cathedral. The left lancet shows Evangelist Luke over Prophet Jeremiah. The second lancet shows Evangelist Matthew over Prophet Isaiah. The central lancet shows the Virgin and Child."
Abstract This paper presents a design analysis of the jamb statues of the west portal at the Chartres Cathedral, also known as the Royal Portal. Stylistic shifts and differences due to rebuilding are discussed. The paper also highlights the unity of design of the jamb statues.
From the Paper "The West Portal of the Chartres Cathedral at Notre Dame is often referred to as the Royal Portal in reference most likely to the Virginas the Queen of Heaven..."
Abstract This paper presents a description of the Chartres statue "Statue of the Standing Virgin and Child", explaining that this work of art, in comparison with other statues of the Virgin Mary and her child, is more than a work of art dedicated to the Virgin in that it is also a realization of the humanity and humility of the woman who was chosen to be the mother of Christ.
From the Paper "There is a playful interchange, dealing no doubt with the small apple. Bur, the child seems to be touching it playfully, but still looking has his mother and the fruit. Yet, if the mother is thought to look aristocratic, the Child is just a child at this point. There seems to be no "holiness" about him. We see, in other statues and paintings, that there is usually an aura or halo that surrounds the heads of Jesus and his Mother. Here, the ivory statue seems to have been posed by a young aristocratic woman. This is totally different from the warmth that seems to exude from the way the Chartres Virgin stands, the way her folds drape loosely around her body, compared with the more Romanesque carefully pleated folds on the ivory statue. Here "she supports the infant Christ in the crook of her left arm while the voluminous sweeping folds about her body direct the eye to Him and lend visual support....This attribute adds the connotation that the Virgin is the new Eve who has come to redeem the sins of the old Eve.." "
Abstract This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.
From the Paper "As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."
Abstract This paper looks at how the outdoor labyrinth at the Grace Cathedral mimics the design of the archetypal 13th century labyrinth at the Chartres Cathedral in France. The author points out that the terrazzo in the Grace Cathedral provides a cold, hard and unyielding counterpart to the otherwise rosaceous, curvilinear, forgiving labyrinthine pattern and the open-air setting suggests nature worship, inviting visitors to contemplate spiritual truths outside of the confines of a religious building. The paper concludes that the Grace labyrinth exemplifies the interfaces between nature and art, between decoration and art and between structural and artistic forms.
From the Paper "The space in which the Grace Cathedral labyrinth is contained is expansive yet it is also contained within a definite boundary. On the property of the Church, the labyrinth is nevertheless accessible at all hours of the day. Open hours mirror the open setting and open air. Because the labyrinth is on terrazzo, it feels distinctly man-made. It doesn't feel natural at all; it has no connection with the feeling of running through the woods or hiking. Having to remain in the lines and only go forward is one of the labyrinth's paradoxes: it is curvilinear and seemingly loose but it is also tight and restrictive."
This paper analyzes Pope Urban II's eleventh century speech at Clermont by reviewing four writings, which provide very different perspectives on this speech.
Abstract This paper explains that there is no direct accounts of Pope Urban II's speech at Clermont, which called for a crusade, but there are four main accounts written by churchmen. The paper further explains that at least three of these churchmen may have been present at Clermont. The first account was written by Fulcher of Chartres in 1101, the second account by Robert Monk in 1107, the third by Baldric of Dol in 1108-1110, and the last by Guibert of Nogent in 1109. The paper reviews each account and the author's personal views regarding the Crusades and Urban's proclamation. The author underscores that the variations and fragmentation of these different accountings of Urban's speech has made it difficult to identify exactly what the Pope said and his true motives for calling the Crusade.The paper contends that possibly Urban's motivation was to recapture Jerusalem, discontinue the wars between Christians in Western Europe and strengthen the relations between Eastern and Western Christian empires.
From the Paper "In the third account, Baldric of Dol puts a heavy emphasis on the state of Jerusalem and the suffering endured by the Christians there. He describes how Christians were forced to become beggars or even enslaved in the Holy Land. Even going into hiding did not help the Christians as Muslims sought them out constantly. He also describes how once great Christians churches have now become stables for animals and how "base and bastard Turks hold sway over our brothers." He claims that Jerusalem has been "reduced to the pollution of paganism." "
Tags: argument motivation leader byzantine, military spirit
