Cathedral of Notre Dame de Chartres (part 3)발음듣기
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Cathedral of Notre Dame de Chartres (part 3)
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Cathedral of Notre Dame de Chartres (part 3)
(bell ringing) Man: The intent of the Gothic church was to create heaven on earth.
It was a way that medieval religious ideas were fused with classical ideas, what we call neoplatonism that allowed the church to function as a set of symbols.
Girl: Light was understood as being the least material of God's earthly creations of the things we encounter.
We think about the moment of creation, it's the separation of light from darkness, And there was light.
It's this originary moment. It's the thing that is the least material, the most transcendent.
We talk about the metaphor of divine light, of the light of God.
This is a very pervasive metaphor throughout the middle ages.
Man: It is weightless, it can be beautiful.
It is a perfect metaphor that can begin to allow one to conceptualize what the heavenly realm must be like.
Girl: So it really becomes a priority for the Gothic architects to allow as much light into the church as possible.
One of the ways that that becomes possible is through the use of the flying buttress where in the Romanesque church a window was a hole, a space surrounded by wall.
What we get in the Gothic church is the supporting structure pulled out of the church through the flying buttress which holds up edifice but allows for complete opening up or nearly complete opening up of the walls.
Man: One of the real problems was that while one could bring down the enormous weight of the stone vaults down on huge piers on the inside of the church.
These piers would have to be so thick they would actually become a wall.
Girl: That's what we see in the Romanesque church.
Man: That's right. Of course, the walls themselves were supporting and so they couldn't be opened up.
The windows were very, very small and the emphasis was certainly not on those windows.
Those churches tended to be quite dark.
There was another problem which is the weight doesn't just bare straight down, it wants to move outward.
A fine buttress actually allowed for that splaying weight to be brought outward and then down.
Girl: What happens is the heavy ceiling, the groin vaults exerts a thrust not only down but also out.
Man: That's exactly right.
Girl: And so the flying buttress takes that lateral outward thrust and moves it out of the church and allows for the opening up of the wall space in between the buttresses.
Man: If you look at the history of the flying buttress, they tend to be fairly substantial early on and they thin as the engineering is perfected because the flying buttress itself which is thin, reeving that exist outside can actually block the sunlight against the stained glass windows.
The idea was to thin those as much as possible.
All of these is in order to be able to open up those great stone walls and allow the light to pour in.
Girl: All according to mathematical proportions, we know that the architect at Chartres used a golden section.
He's thinking clearly not just about individual numbers but about the harmony between the parts and this harmony again is a reflection of the harmony of the cosmos as created by God.
Man: This is an ancient idea.
You can go back to Pythagoras and ultimately this would be seen as neoplatonic.
So harmony and ratio and perfect proportion was a way of coming into contact with the ideal perfection of the heavenly realm of God's will.
Chartres is based as so many Christian churches are on a basically plan that ancient Roman public building but Christian churches tended to make them into cruciform, into the shape of a cross by adding a transept that literally intersects the nave and Chartres is no exception.
Girl: The Romanesque church that Chartres was based on however didn't have a transept and the transept was added when it was rebuilt after the fire precisely to allow for greater crowds of people coming to visit the church specifically to see the Virgin's tunic.
Man: The pilgrim who'd come in and walk around the outside isles go all the way around the back of the choir and come out the front without ever having to cross in front of the altar.
Girl: Or to enter-exit, what the transept did was provide an extra entrance for visitors to the church.
I'm looking now across the transept through to the isles and what I see is the large rose windows of the north transept, the lancets below.
But my eye moves around to that stained glass in a clear straight, this felling of surrounded by colored light.
Man: You had mentioned that there are the 5 lancets in that large rows in the north transept.
That wasn't enough, that window also has 4 descending lancet windows that fit in to those negative spaces.
Every inch that can be opened up is opened up.
The north rose windows related to that sculptural program outside.
In the center of the rose is the Virgin Mary with her child.
She's surrounded by 4 doves.
Just above her 4 thrones and 4 angels.
Outside of that, in the diamond shapes are the kings of Judea who were believed to have been her ancestors and beyond that, 12 minor prophets.
Girl: The idea is that from the very beginning this was God's plan for mankind to save mankind through the prophets and the ancestors of Mary and Christ from the very beginning of creation.
The church is still a vehicle for education.
Man: Let's walk under the rose window, go outside at the north end of the transept.
We're looking at the north transept at Chartres and it protrudes pretty substantially from the church.
Girl: It's a deep porch or entrance way into the church and you can imagine people gathering here.
Man: It's big enough that it almost seems like it could be a church itself.
The outward most of the archivolts is linked directly to the archivolt that's just inside that.
They show hand and hand God as creator and then that which he creates.
Girl: God speaking the word and the bird becoming material.
Man: At the lower left side, God gesticulating and then just inside that, the waters and the earth and they're separate.
The first page of Genesis enacted.
Girl: And then God creates Adam and Eve looking a little bit more thoughtful as he creates Adam and Eve.
Maybe even a little worried I think.
Man: I think that's right. This entire portal is devoted to the time before Christ.
Girl: That's right. With a focus especially on Mary who see being crowned in heaven by Christ in the tympanum.
Man: If you start down at the [trumo], that is the column that separates the two doors, you actually see her mother and Mary in her arms as a child.
Just above that, we've jumped to the end of her life, the dormition and then the ascension of Mary into heaven and then she is being welcomed and blessed in heaven by her Son Christ.
Girl: Right. On the jambs, we see figures who look really different than the figures on the jambs on the west facade, is very much later there's our post-fire and these look much more typically Gothic.
There's a sense now of drapery that begins to have some volume to it.
Bodies that aren't quite as elongated more in proportion.
Most importantly figures who seem to begin to relate to one another emotionally, as though there's a story happening here.
They're not just transcending reality.
They seem to be a little bit in reality.
Man: Enacting compared to these totally transcendent figures in the west work.
These are now 13th century figures as supposed to 12th century figures.
Girl: Right. So we have in order from left to right, Melchizedek, Abraham.
Man: With Abraham you can see the diminutive Isaac just in front of him.
Girl: And Abraham perhaps looking up to the angel who's going to stop him from ...
Man: from slaying his son.
Girl: Right. We move on to Moses, Samuel, David.
Man: Then on the right side.
Girl: Isaiah, Jeremiah, Simeon and John the Baptist and then St. Peter who can see holding keys to the kingdom.
Man: [Unintelligible] prophets and according to the Catholic tradition foretold the coming of Christ.
Girl: Right. Ending here with St. Peter who is the founder, the rock.
I'm looking up now at their faces and they're so much more individualized than the faces that we saw on the west portal.
So much more emotional, and I'm looking especially at John the Baptist who almost seems to plead with us as he looks down at us. (bell ringing)
번역
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It was a way that medieval religious ideas were fused with classical ideas, what we call neoplatonism that allowed the church to function as a set of symbols.발음듣기
대기중
Girl: Light was understood as being the least material of God's earthly creations of the things we encounter.발음듣기
대기중
We think about the moment of creation, it's the separation of light from darkness, And there was light.발음듣기
대기중
It's this originary moment. It's the thing that is the least material, the most transcendent.발음듣기
대기중
It is a perfect metaphor that can begin to allow one to conceptualize what the heavenly realm must be like.발음듣기
대기중
Girl: So it really becomes a priority for the Gothic architects to allow as much light into the church as possible.발음듣기
대기중
One of the ways that that becomes possible is through the use of the flying buttress where in the Romanesque church a window was a hole, a space surrounded by wall.발음듣기
대기중
What we get in the Gothic church is the supporting structure pulled out of the church through the flying buttress which holds up edifice but allows for complete opening up or nearly complete opening up of the walls.발음듣기
대기중
Man: One of the real problems was that while one could bring down the enormous weight of the stone vaults down on huge piers on the inside of the church.발음듣기
대기중
Man: That's right. Of course, the walls themselves were supporting and so they couldn't be opened up.발음듣기
대기중
There was another problem which is the weight doesn't just bare straight down, it wants to move outward.발음듣기
대기중
A fine buttress actually allowed for that splaying weight to be brought outward and then down.발음듣기
대기중
Girl: What happens is the heavy ceiling, the groin vaults exerts a thrust not only down but also out.발음듣기
대기중
Girl: And so the flying buttress takes that lateral outward thrust and moves it out of the church and allows for the opening up of the wall space in between the buttresses.발음듣기
대기중
Man: If you look at the history of the flying buttress, they tend to be fairly substantial early on and they thin as the engineering is perfected because the flying buttress itself which is thin, reeving that exist outside can actually block the sunlight against the stained glass windows.발음듣기
대기중
All of these is in order to be able to open up those great stone walls and allow the light to pour in.발음듣기
대기중
Girl: All according to mathematical proportions, we know that the architect at Chartres used a golden section.발음듣기
대기중
He's thinking clearly not just about individual numbers but about the harmony between the parts and this harmony again is a reflection of the harmony of the cosmos as created by God.발음듣기
대기중
So harmony and ratio and perfect proportion was a way of coming into contact with the ideal perfection of the heavenly realm of God's will.발음듣기
대기중
Chartres is based as so many Christian churches are on a basically plan that ancient Roman public building but Christian churches tended to make them into cruciform, into the shape of a cross by adding a transept that literally intersects the nave and Chartres is no exception.발음듣기
대기중
Girl: The Romanesque church that Chartres was based on however didn't have a transept and the transept was added when it was rebuilt after the fire precisely to allow for greater crowds of people coming to visit the church specifically to see the Virgin's tunic.발음듣기
대기중
Man: The pilgrim who'd come in and walk around the outside isles go all the way around the back of the choir and come out the front without ever having to cross in front of the altar.발음듣기
대기중
Girl: Or to enter-exit, what the transept did was provide an extra entrance for visitors to the church.발음듣기
대기중
I'm looking now across the transept through to the isles and what I see is the large rose windows of the north transept, the lancets below.발음듣기
대기중
But my eye moves around to that stained glass in a clear straight, this felling of surrounded by colored light.발음듣기
대기중
Man: You had mentioned that there are the 5 lancets in that large rows in the north transept.발음듣기
대기중
That wasn't enough, that window also has 4 descending lancet windows that fit in to those negative spaces.발음듣기
대기중
Outside of that, in the diamond shapes are the kings of Judea who were believed to have been her ancestors and beyond that, 12 minor prophets.발음듣기
대기중
Girl: The idea is that from the very beginning this was God's plan for mankind to save mankind through the prophets and the ancestors of Mary and Christ from the very beginning of creation.발음듣기
대기중
We're looking at the north transept at Chartres and it protrudes pretty substantially from the church.발음듣기
대기중
Girl: It's a deep porch or entrance way into the church and you can imagine people gathering here.발음듣기
대기중
The outward most of the archivolts is linked directly to the archivolt that's just inside that.발음듣기
대기중
Man: At the lower left side, God gesticulating and then just inside that, the waters and the earth and they're separate.발음듣기
대기중
Girl: And then God creates Adam and Eve looking a little bit more thoughtful as he creates Adam and Eve.발음듣기
대기중
Girl: That's right. With a focus especially on Mary who see being crowned in heaven by Christ in the tympanum.발음듣기
대기중
Man: If you start down at the [trumo], that is the column that separates the two doors, you actually see her mother and Mary in her arms as a child.발음듣기
대기중
Just above that, we've jumped to the end of her life, the dormition and then the ascension of Mary into heaven and then she is being welcomed and blessed in heaven by her Son Christ.발음듣기
대기중
Girl: Right. On the jambs, we see figures who look really different than the figures on the jambs on the west facade, is very much later there's our post-fire and these look much more typically Gothic.발음듣기
대기중
Most importantly figures who seem to begin to relate to one another emotionally, as though there's a story happening here.발음듣기
대기중
Girl: Isaiah, Jeremiah, Simeon and John the Baptist and then St. Peter who can see holding keys to the kingdom.발음듣기
대기중
Man: [Unintelligible] prophets and according to the Catholic tradition foretold the coming of Christ.발음듣기
대기중
I'm looking up now at their faces and they're so much more individualized than the faces that we saw on the west portal.발음듣기
대기중
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