Part 2: Cathedral of Notre Dame de Chartres, c.1145 and 1194-c.1220발음듣기
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Part 2: Cathedral of Notre Dame de Chartres, c.1145 and 1194-c.1220
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Part 2: Cathedral of Notre Dame de Chartres, c.1145 and 1194-c.1220
We've walked into the cathedral under the part of the church that remains from 1140 - 1145 into the post-fire church, begun in 1194.
And you get that sense that the priority for the architect was the stained glass.
Even though it's a brilliantly lit day outside, we walk in and we're in this dark space,
and it almost seems as if these windows are not so much attached to walls, or they're not so much openings in walls, the walls themselves disappear and they're almost like floating planes of light.
When the sun is coming in from the right direction, the walls are speckled with colored light in a way that almost makes the walls and the piers turn into spirit instead of matter.
This use of light is a symbol for divinity.
And the colors of the glass, the deepest blues, the richest reds, and purples...
They're vivid in a way that I think the medieval would have rarely seen.
What the architect of Chartres did, was to eliminate what had been a four part elevation, consisting of the nave arcade, a gallery, a triforium, and windows, with a clear story.
Here the architect eliminated the galleries, now we've just got a three part elevation.
What that allowed for was an enlargement of the panes of glass.
We also notice other Gothic elements, like the pointed arches as opposed to the round arches of the Romanesque the ribbed vaults that allowed the Gothic architect to raise the height of the church.
And also to emphasize the linear, the movement of the eye upward, and unlike a rounded Roman arch, which brings your eye back down, the Gothic brings you up, and then leaves you up.
Now let's walk into the church, not down the nave, but through the side isle, as a pilgrim might.
The piers, they alternate between squares and circles, and they have outer bundled columns, which alternate again, so there is this subtle and complex alternating play, the sense of rhythm meant to invoke the immaterial heavenly realm.
Now passing the transepts and moving back towards the choir, in the typical Romanesque church, many of the treasures of the cathedral would be kept in the radiating chapels.
And the idea of a radiating chapel is that it's a series of separated spaces around the apse.
And one of the things that happens in a Gothic church is the integration of these spaces.
In fact that's one of the ways that art historians think about the difference between the Gothic and the Romanesque, is that with the Gothic there's a unified space, and with the Romanesque parts still retain their separateness.
Something important happens with the unity of the choir in a Gothic cathedral, which is that the light from one chapel radiates into each of the others, and they're seen as a whole.
None of these elements are meant to be seen individually, that is the proportions of the entire church, the relationships between the windows and the architecture, the entire ensemble is meant to evoke and inspire.
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We've walked into the cathedral under the part of the church that remains from 1140 - 1145 into the post-fire church, begun in 1194.발음듣기
대기중
and it almost seems as if these windows are not so much attached to walls, or they're not so much openings in walls, the walls themselves disappear and they're almost like floating planes of light.발음듣기
대기중
When the sun is coming in from the right direction, the walls are speckled with colored light in a way that almost makes the walls and the piers turn into spirit instead of matter.발음듣기
대기중
What the architect of Chartres did, was to eliminate what had been a four part elevation, consisting of the nave arcade, a gallery, a triforium, and windows, with a clear story.발음듣기
대기중
We also notice other Gothic elements, like the pointed arches as opposed to the round arches of the Romanesque the ribbed vaults that allowed the Gothic architect to raise the height of the church.발음듣기
대기중
And also to emphasize the linear, the movement of the eye upward, and unlike a rounded Roman arch, which brings your eye back down, the Gothic brings you up, and then leaves you up.발음듣기
대기중
Now let's walk into the church, not down the nave, but through the side isle, as a pilgrim might.발음듣기
대기중
The piers, they alternate between squares and circles, and they have outer bundled columns, which alternate again, so there is this subtle and complex alternating play, the sense of rhythm meant to invoke the immaterial heavenly realm.발음듣기
대기중
Now passing the transepts and moving back towards the choir, in the typical Romanesque church, many of the treasures of the cathedral would be kept in the radiating chapels.발음듣기
대기중
And the idea of a radiating chapel is that it's a series of separated spaces around the apse.발음듣기
대기중
In fact that's one of the ways that art historians think about the difference between the Gothic and the Romanesque, is that with the Gothic there's a unified space, and with the Romanesque parts still retain their separateness.발음듣기
대기중
Something important happens with the unity of the choir in a Gothic cathedral, which is that the light from one chapel radiates into each of the others, and they're seen as a whole.발음듣기
대기중
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