Reims Cathedral발음듣기
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Reims Cathedral
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[Steven] We're in the square in the city of Reims in France looking at one of the great Gothic cathedrals.발음듣기
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[Beth] We're not far from Paris and in fact the great Gothic and High Gothic churches form a circle around Paris.발음듣기
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[Steven] This period in the 12th and 13th centuries was a period in which France was not the nation as we now know it.발음듣기
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The Capetian monarchy, the king of France was in control only of the Ile-de-France the area that surrounds Paris.발음듣기
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[Beth] But it's during exactly this Gothic period that the Capetian monarchs expand their territory and increase their power.발음듣기
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This is based on centuries of experimentation that we can see especially in great Romanesque churches in the years after the turn of the millennia.발음듣기
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[Beth] The desire to build roofing out of stone that we see being in the Romanesque reaches a kind of perfection during the Gothic.발음듣기
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It's these developments in things like flying buttresses and in the Groin Vault that allow the Gothic builder to build so tall, so high to pierce the walls in the way that he does to allow light to enter the building.발음듣기
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[Steven] But all of that is in the service of the spiritual to use light symbolically to create a space that is meant to represent heaven on earth.발음듣기
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[Beth] Typically for both Romanesque and Gothic churches we have a west front which has three entrances.발음듣기
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And they reflect the interior because the central doors enter into the widest part of building, the nave.발음듣기
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[Beth] Beginning in the Romanesque period we begin to see figures on either side of the doorway and above the doorway in a space called the tympanum.발음듣기
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The sculpture that we would expect to see in the tympanum is now above that in the gabled spaces above the archivolts.발음듣기
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[Steven] Now just above the rose window in this central portal there's another even larger rose.발음듣기
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[Beth] At this cathedral in particular the artists have achieved an amazing thing with the stained glass windows.발음듣기
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On either side of the rose window are two enormous towers pierced throughout so that light pours through them and they seem delicate.발음듣기
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[Beth] And then we have another feature which is typical of Gothic churches in this case it's located above the rose window and this is called the Gallery of Kings.발음듣기
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[Steven] This is called the tree of Jesse and that refers back to Jesse the father of King David.발음듣기
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But in this particular church at the center of the Gallery of Kings we see the baptism of King Clovis the man who begins the ancient Merovingian Dynasty a dynasty that the more modern kings of France would have looked back to.발음듣기
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The oil required to anoint him during the coronation ceremony was miraculously received by the Bishop from a dove sent by God.발음듣기
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[Steven] That legend is important because this is the Cathedral where the coronation ceremonies took place where the kings of France received their divine inspiration their divine power.발음듣기
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What strikes me most of all as we approach any of these the three doorways is how animated the jam figures are.발음듣기
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It feels as if they're alive and if we imagine that they were once painted that would have enhanced their realism to any visitor walking through these portals.발음듣기
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[Steven] We've walked into the central portal and we're looking at the jam figures that are on the right side.발음듣기
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The Annunciation is the moment when the Archangel Gabriel visits Mary with the news that she will bear Christ.발음듣기
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[Beth] And on the right we see a scene known as the Visitation when Mary's cousin Elizabeth visits.발음듣기
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[Steven] When you look at these two pairs of sculptures you can see that they were carved at different times and in very different styles.발음듣기
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Not only would you have to have many masons who are cutting and carving stone but also many sculptors who are working likely coming from different workshops in the region.발음듣기
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And here at Reims especially we know that sculptures were moved from different locations on the building.발음듣기
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And so it's not quite as coherent as we might see at another Gothic church, like Amiens, for example.발음듣기
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[Beth] Right, and that's what we mean by classical-looking back to the cultures of ancient Greece and ancient Rome.발음듣기
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There are ancient Roman ruins here that may have been an important source of inspiration for the sculptors who did the scene of the Visitation.발음듣기
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[Steven] So much so that earlier art historians thought for a time that these might actually be antique sculptures from ancient Rome.발음듣기
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[Beth] What makes them look so classical so ancient Greek or Roman is that clinging drapery.발음듣기
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[Steven] And like those ancient Greek sculptures we see attention to the bodies below the drapery.발음듣기
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When we look at Mary we see her right knee projecting out a traditional way of representing the body that we call contrapposto where her weight is largely on her left leg in this case.발음듣기
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[Beth] However one of the tips that tells us this is not classical, but is in fact Gothic is that that sway in her hip that forms an S curve in her body is exaggerated.발음듣기
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[Steven] This is a characteristic that was considered quite elegant and part of the courtly culture especially of 12th and 13th century France.발음듣기
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[Beth] In early Gothic sculpture when we had jam figures there was a very close association between the figures and the columns behind them.발음듣기
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There's a sense of freedom from the architecture so that we almost read these as freestanding sculptures.발음듣기
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It's not just that this pair contrast with the classicism of the Visitation but the figures are different from each other.발음듣기
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[Beth] And so we seem to have actually these two pairs of sculptures the hands of three different sculptors.발음듣기
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Mary is understood as an intercessor as someone who intercedes between human beings and the divine.발음듣기
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The head is quite small, the body is lyrical the carving is incredibly delicate and Mary seems earthly in comparison.발음듣기
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If we turn around to the left side of the central portal we see especially the figure known as Joseph carved in a style that is very similar to the angel.발음듣기
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[Beth] And last but not least we have a figure in the center as we look toward the doorway this is called the trauma which supports the lintel.발음듣기
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And here we see a very atypically Gothic sculpture of Mary holding the Christ child supporting him on her hips with that sway of drapery.발음듣기
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[Steven] And as a reminder that this church was closely associated with the Capetian monarchy she wears a large crown.발음듣기
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[Beth] And as we stand in this doorway about to walk into the church I'm reminded of the medieval visitors who would have looked up and seen figures that they were familiar with.발음듣기
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We have the nave arcade the row of arches that we see on either side of the nave and we notice that they're pointed which is a very typical feature of Gothic architecture.발음듣기
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So this idea of opening up as much of the walls as possible to the glass now that's a really difficult feat when you have a stone vaulted ceiling.발음듣기
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[Steven] Which weighs a tremendous amount and which exerts tremendous pressure downward and out and all that needs to be supported.발음듣기
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Part of the brilliance of the Gothic is the understanding that that weight can be born not entirely inside the church with massive piers but much of that weight can be drawn outside.발음듣기
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And supported by flying buttresses that allow for light to come into the church unobstructed.발음듣기
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[Beth] If we go back to the Romanesque those stone vaulted ceilings were carried by these massive heavy walls.발음듣기
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And along with the flying buttress that allows Gothic architects to open up the walls to allow for this light is the use of the ribbed groin vault.발음듣기
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We have large piers visually made lighter by the addition of these engaged columns what are called colonnettes that rise delicately up and that continue the entire length of the elevation all the way up to the center of the vaulting.발음듣기
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The Romanesque was in love with the idea of taking a Roman arch and extending it in space to create a barrel vault.발음듣기
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[Beth] One of the benefits of the groin vault is that it allows the weight to come down on two points instead of continuous walls and that allows one to open up the space.발음듣기
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And at the intersection of those four parts we have ribbing that was an important architectural innovation that allows for much of the work of holding up the building to be taken by that ribbing rather than the webbing in between.발음듣기
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[Beth] And as we look down the aisle at the ribbing we see this lovely pattern creating linear decoration.발음듣기
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[Steven] The linear is seen everywhere in the interior but we also have it interrupted by beautiful decorative passages that are foliate that is that show foliage, leaves.발음듣기
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The fact that architecture is purposefully using light as a symbolic expression of the divine is quite extraordinary.발음듣기
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One of the things that distinguishes this cathedral from others from this period is that we're missing so much of the original stained glass.발음듣기
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This city was heavily bombed during World War I and the cathedral sustained real damage that took decades to rebuild.발음듣기
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[Steven] That's most evident in the destruction of some of the sculpture on the exterior of the building but also in the loss of the original glass in the clerestory, in the nave.발음듣기
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What the destruction of World War I afforded the church was the opportunity though for modern artists, most notably Mark Chagall to create new windows for the church.발음듣기
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And we see a set of gorgeous lancet windows in the axial chapel the back most chapel in the church.발음듣기
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[Beth] We've walked back down toward the west end toward the entrance and we're immediately faced by this unusual and fabulously beautiful sculpted wall.발음듣기
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And it's interesting to note that the subjects that are represented on the interior west front reflect the subjects on the exterior portals.발음듣기
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[Beth] One can imagine the king after the coronation ceremony after the King is imbued with divine power turning around to process out of this doorway and looking at the very scenes we're looking at today.발음듣기
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[Steven] And two of the most prominent niches just to the right of the main portal reflect the relationship between the church and the king.발음듣기
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[Beth] Both are dressed in the garb of the Middle Ages so we might not immediately recognize Abraham because he's dressed as a knight.발음듣기
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[Steven] And although Melchizedek and Abraham were kings here in his knightly garb Abraham represents the monarchy.발음듣기
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[Beth] And to his left Melchizedek from the Old Testament who is both a king and a priest and he's administering bread and wine to Abraham.발음듣기
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[Steven] And it's a reminder that in the 12th and 13th centuries in fact for the entire medieval period there is a complex relationship between the church and the king between spiritual and temporal power.발음듣기
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On the other hand, the king once he's anointed during the coronation ceremony becomes God's vehicle on earth to protect and care for his kingdom.발음듣기
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Abraham, his hands together in prayer bends forward towards Melchizedek and it's almost as if the architectural frame that surrounds each disappears.발음듣기
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[Beth] And yet, we're drawn to that beautiful foliage pattern that surrounds each of these niches.발음듣기
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This is a time of renewed interest in the philosophy of Aristotle but also renewed interest in nature.발음듣기
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[Steven] Make no mistake, this is not the Renaissance but there are focused moments of naturalism in medieval sculpture and we see that here in the representation of the oak of some of the vines, as a framing motif.발음듣기
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[Beth] All of this in the service of understanding the world the universe that God created for us and the vehicle of the church for our salvation.발음듣기
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