GOTHIC AGE:
CHARTRES CATHEDRAL -
The Roman Catholic cathedral is located in the town of Chartres, near Paris. It is considered to be one of the most exemplary pieces of architecture from the Gothic period (mid 12th to the late 15th century). Dedicated to Virgin Mary and John the Baptist, this cathedral is said to have housed the tunic of the Virgin Mary, the Sancta Camisia making it a pilgrimage centre for people who honor the relic.
The various elements of the Chartres Cathedral like its buttresses, labyrinth, stained glass windows and sculptures with realistic expressions are features of the Gothic style of architecture and reflect the cultural developments sweeping across Europe, and France in particular in this period. The sculptures and paintings reflect the deep religious sentiments of the people
The spires of the cathedral rise high and loom over the city. The layout is that of a Latin cross, with a short transept and ambulatory. Double flying buttresses act as structural elements, giving support to the high nave. Typical of the Gothic cathedrals, the Chartres cathedral too has large rose windows. The sculptures on the walls, friezes on the doors and the glass paintings on the rose windows illustrate stories of Christianity.
The cathedral consists of 3 portals- the north portal depicts stories from the Old Testament and of Virgin Mary, the south portal is centered on the New Testament and the Last Judgment while west portal, also known as the royal portal is decorated with elongated statues of kings, queens and figures from Old Testament full of expression atypical of Gothic style.
Its stone floor bears an ancient labyrinth with just a single path through it. The Labyrinth had been used for meditational and contemplative purposes by pilgrims and monks alike. It had an eleven circuit design divided into four quadrants. A person had to walk through the four quadrants several times before reaching the center. The rosette at the centre is representative of religious enlightment.
The ambulatory encircling the choir and the sanctuary is sculpted with stories of Jesus and Mary, while the carved choir screen separates the two.
The three rose windows give vivid, colorful depictions of religious occasions. The West Rose illustrates stories from the Last Judgment; the North rose illustrates the Glorification of the Virgin while the South Rose illustrates the Glorification of the Christ.
This Gothic architectural marvel has been preserved almost completely in original design and detail and has been added to the UNESCO’s heritage list.
References-
- Chartres Cathedral, retrieved on April 25, 2009 from
- The Chartres Labyrinth, retrieved on April 25, 2009 from
BAROQUE AGE:
TRANSVERBATION OF ST. THERESA-
BAROQUE AGE: TRANSVERBATION OF ST. THERESA
The baroque architecture and art (beginning in the early 17th century) was primarily employed by the Catholic Church as an attempt for reformation following the Protestant Reformation. In its initial stages, Baroque art was prominently used for displaying the power and wealth of the Church. The early Baroque sculpture of Ecstasy of St. Theresa(also known as the transverbation of St. Theresa)by the Baroque sculptor Gian Lorenzo Bernini successfully integrates some of the most important aspects of the Baroque style of art.
Housed in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome, this white marble structure serves as its centre point. It is surrounded by a frame of colored marble which serves to hide a window which lights the sculpture from the top. This dramatic use of light is exemplary of the Baroque style of architecture.
The sculpture depicts a mystical experience of the St. Theresa of Avila. In her writings, she had mentioned of her vision of an angel with a golden spear. The angel thrusts the spear into her heart, suffusing St. Theresa with the love of God. She bears both immense pain and pleasure from this; pain inflicted by the piercing of the spear makes her moan, yet at the same time the pain is so sweet that she has no desire to get rid of it. This literary piece is captured in marble by Bernini in the sculpture of the Ecstasy of St. Theresa. Bernini depicts St. Theresa upon a cloud and in languid pose, entranced; with her face filled with contentment after the angel has withdrawn spear from her heart. Though it is sometimes misinterpreted as a depiction of eroticism, Bernini’s sculpture is an earnest depiction of the heavenly joy caused by the attainment of spiritual contact with the divine.
The male members of the Cornaro family are also depicted in the flanks, viewing and discussing the mystical event. Atypical of Baroque style of sculpture, the vaulted dome of the chapel is also frescoed with works by Giovanni Domenico Cerrini. Thus, the chapel successfully integrates the architectural, theatrical and sculptural features of the Baroque art.
During this period of Counter-Reformation, the sculpture was designed and used to communicate religious themes. Since this was a private chapel, Baroque art also served as a means of impressing the visitors with the power and control of the Cornaro family, similar to other instances of use of Baroque art to depict opulence and power.
References-
- Ecstasy of St. Theresa, retrieved on April 25, 2009 from
- Ecstasy of St. Theresa, retrieved on April 25, 2009 from
- The Cornaro Chapel, retrieved on April 25, 2009 from