How to be goth at church

How to be goth at church

Aesthetically ornate and conceptually transcendent, the Gothic style has become one of world’s most distinctive architectural movements. Though it originated in the Middle Ages, the one-of-a-kind genre continues to captivate today, as evident in some of Europe’s most beautiful buildings.

While the Gothic approach appears to be a novel form of architecture, its signature style has been shaped by different influences. Here, we explore the genre, looking closely at its rich history, defining features, and most well-known examples.

What is Gothic Architecture?

Gothic architecture is a European style of architecture that values height and exhibits an intricate and delicate aesthetic. Though its roots are French, the Gothic approach can be found in churches, cathedrals, and other similar buildings in Europe and beyond.

History

During the Middle Ages, a new style of architecture emerged in Europe. Initially referred to as Opus Francigenum , or “French Work,” this architectural genre dominated European tastes—namely, that of the Roman Catholic Church—until the 16th century, when it became known as “Gothic.”

The Gothic style evolved from Romanesque architecture, a medieval aesthetic characterized by arches, vaulted ceilings, and small stained glass windows.

How to be goth at church

How to be goth at church

Leon Cathedral (Photo: Adrian Farwell [CC BY 3.0], via Wikimedia Commons)

Question: “What is the Christian perspective on Goth / Emo? How should Christians view the Gothic / Emo movement?”

Answer: A Christian’s viewpoint on the Gothic / Emo movement should be avoidance of the culture’s dark attitudes while still loving those involved in it. Yes, there are definitely certain aspects of the Gothic and Emo subcultures that are incompatible with Christianity, but no more so than similar aspects of mainstream society. These particular communities identify themselves with artistic darkness—darker clothing, darker writing, darker music. In fact, both Goth and Emo originally (and presently) referred to specific music genres with punk roots before they were considered personal styles.

While it may seem that all Goths or Emos share the same level of devotion to darkness, each individual will have his or her own preferences about which aspects he or she chooses to partake in. What is important to understand is that, for most Goths / Emos, it is a “dark” aesthetic they subscribe to, not necessarily darkness as it relates to evil. Wearing black clothing is not inherently sinful. Enjoying art that emphasizes black is not inherently sinful. There is nothing evil about the color black. The Gothic / Emo subculture is no more inherently wicked or wrong than any other subculture. Condemnation of Gothic / Emo adherents is usually brought on by a knee-jerk reaction to their uncommon appearance, but that condemnation is a sin (John 3:17). As followers of Christ, we need to be beyond that (John 7:24). Like all of us, they are people who desperately need Christ in their lives. Every human being is on an equal level of sin as far as God is concerned (Romans 3:23), and being a part of the Goth or Emo subculture makes no difference in terms of eternal security.

Can Goths or Emos come to faith in Christ and still involve themselves in a dark aesthetic? If they are glorifying Christ in what they do, yes (1 Corinthians 10:31). We cannot impose our own spiritual maturity, personal convictions, or style choices on another person—no matter how strange they may seem to us. Let the Christian Goth / Emo wrestle with his/her ideologies as God brings them out for scrutiny. What we can do is provide support, counsel, and love as the Holy Spirit guides us in our relationships (John 16:13).

Conforming to the image of Christ does not mean you must stop wearing black and dress like every other upper-middle class American / Western European. That has nothing to do with Christianity. It does mean, though, that a Goth’s or Emo’s mindset and dark attitudes will undergo a change, even if the black clothes and attraction to darkness might remain to a certain extent. It is the heart that God searches (1 Chronicles 28:9), thus the heart is what we must first look at ourselves, whether it be among Goths, Emos, punks, gamers, jocks, etc.

Related Topics:

What is the Christian perspective on Goth / Emo? How should Christians view the Gothic / Emo movement?

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  • The Catholic Encyclopedia – Gothic Architecture
  • Victoria and Albert Museum – Gothic Architecture

Gothic architecture, architectural style in Europe that lasted from the mid-12th century to the 16th century, particularly a style of masonry building characterized by cavernous spaces with the expanse of walls broken up by overlaid tracery.

How to be goth at church

How to be goth at church

In the 12th–13th century, feats of engineering permitted increasingly gigantic buildings. The rib vault, flying buttress, and pointed (Gothic) arch were used as solutions to the problem of building a very tall structure while preserving as much natural light as possible. Stained-glass window panels rendered startling sun-dappled interior effects. One of the earliest buildings to combine these elements into a coherent style was the abbey of Saint-Denis, Paris (c. 1135–44). The High Gothic years (c. 1250–1300), heralded by Chartres Cathedral, were dominated by France, especially with the development of the Rayonnant style. Britain, Germany, and Spain produced variations of this style, while Italian Gothic stood apart in its use of brick and marble rather than stone. Late Gothic (15th-century) architecture reached its height in Germany’s vaulted hall churches. Other late Gothic styles include the British Perpendicular style and the French and Spanish Flamboyant style.

How to be goth at church

Aesthetically ornate and conceptually transcendent, the Gothic style has become one of world’s most distinctive architectural movements. Though it originated in the Middle Ages, the one-of-a-kind genre continues to captivate today, as evident in some of Europe’s most beautiful buildings.

While the Gothic approach appears to be a novel form of architecture, its signature style has been shaped by different influences. Here, we explore the genre, looking closely at its rich history, defining features, and most well-known examples.

What is Gothic Architecture?

Gothic architecture is a European style of architecture that values height and exhibits an intricate and delicate aesthetic. Though its roots are French, the Gothic approach can be found in churches, cathedrals, and other similar buildings in Europe and beyond.

History

During the Middle Ages, a new style of architecture emerged in Europe. Initially referred to as Opus Francigenum , or “French Work,” this architectural genre dominated European tastes—namely, that of the Roman Catholic Church—until the 16th century, when it became known as “Gothic.”

The Gothic style evolved from Romanesque architecture, a medieval aesthetic characterized by arches, vaulted ceilings, and small stained glass windows.

How to be goth at church

How to be goth at church

Leon Cathedral (Photo: Adrian Farwell [CC BY 3.0], via Wikimedia Commons)

Our editors will review what you’ve submitted and determine whether to revise the article.

Gothic art, the painting, sculpture, and architecture characteristic of the second of two great international eras that flourished in western and central Europe during the Middle Ages. Gothic art evolved from Romanesque art and lasted from the mid-12th century to as late as the end of the 16th century in some areas. The term Gothic was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the nonclassical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culture in the 5th century ce . The term retained its derogatory overtones until the 19th century, at which time a positive critical revaluation of Gothic architecture took place. Although modern scholars have long realized that Gothic art has nothing in truth to do with the Goths, the term Gothic remains a standard one in the study of art history.

How to be goth at church

Architecture

Architecture was the most important and original art form during the Gothic period. The principal structural characteristics of Gothic architecture arose out of medieval masons’ efforts to solve the problems associated with supporting heavy masonry ceiling vaults over wide spans. The problem was that the heavy stonework of the traditional arched barrel vault and the groin vault exerted a tremendous downward and outward pressure that tended to push the walls upon which the vault rested outward, thus collapsing them. A building’s vertical supporting walls thus had to be made extremely thick and heavy in order to contain the barrel vault’s outward thrust.

Medieval masons solved this difficult problem about 1120 with a number of brilliant innovations. First and foremost they developed a ribbed vault, in which arching and intersecting stone ribs support a vaulted ceiling surface that is composed of mere thin stone panels. This greatly reduced the weight (and thus the outward thrust) of the ceiling vault, and since the vault’s weight was now carried at discrete points (the ribs) rather than along a continuous wall edge, separate widely spaced vertical piers to support the ribs could replace the continuous thick walls. The round arches of the barrel vault were replaced by pointed (Gothic) arches which distributed thrust in more directions downward from the topmost point of the arch.

How to be goth at church

How to be goth at church

Since the combination of ribs and piers relieved the intervening vertical wall spaces of their supportive function, these walls could be built thinner and could even be opened up with large windows or other glazing. A crucial point was that the outward thrust of the ribbed ceiling vaults was carried across the outside walls of the nave, first to an attached outer buttress and then to a freestanding pier by means of a half arch known as a flying buttress. The flying buttress leaned against the upper exterior of the nave (thus counteracting the vault’s outward thrust), crossed over the low side aisles of the nave, and terminated in the freestanding buttress pier, which ultimately absorbed the ceiling vault’s thrust.

These elements enabled Gothic masons to build much larger and taller buildings than their Romanesque predecessors and to give their structures more complicated ground plans. The skillful use of flying buttresses made it possible to build extremely tall, thin-walled buildings whose interior structural system of columnar piers and ribs reinforced an impression of soaring verticality.

Three successive phases of Gothic architecture can be distinguished, respectively called early, High, and late Gothic.

Early Gothic

This first phase lasted from the Gothic style’s inception in 1120–50 to about 1200. The combination of all the aforementioned structural elements into a coherent style first occurred in the Île-de-France (the region around Paris), where prosperous urban populations had sufficient wealth to build the great cathedrals that epitomize the Gothic style. The earliest surviving Gothic building was the abbey of Saint-Denis in Paris, begun in about 1140. Structures with similarly precise vaulting and chains of windows along the perimeter were soon begun with Notre-Dame de Paris (begun 1163) and Laon Cathedral (begun 1165). By this time it had become fashionable to treat the interior columns and ribs as if each was composed of a bunch of more slender parallel members. A series of four discrete horizontal levels or stories in the cathedral’s interior were evolved, beginning with a ground-level arcade, over which ran one or two galleries (tribune, triforium), over which in turn ran an upper, windowed story called a clerestory. The columns and arches used to support these different elevations contributed to the severe and powerfully repetitive geometry of the interior. Window tracery (decorative ribwork subdividing a window opening) was also gradually evolved, along with the use of stained (coloured) glass in the windows. The typical French early Gothic cathedral terminated at its eastern end in a semicircular projection called an apse. The western end was much more impressive, being a wide facade articulated by numerous windows and pointed arches, having monumental doorways, and being topped by two huge towers. The long sides of the cathedral’s exterior presented a baffling and tangled array of piers and flying buttresses. The basic form of Gothic architecture eventually spread throughout Europe to Germany, Italy, England, the Low Countries, Spain, and Portugal.

Steampunk is a sub-genre of Goth. It is a mix of Victorian and Edwardian aesthetics combined with modern technology. It is a re-invented future or a past that never happened. In many ways society has taken a nose-dive since the Victorian era and some would even go so far as to say we have been living in a New Dark Ages ever since. Science has done a lot for us over the past century, including creating the internet and enabling me to publish this website. However, the scientific view of humans as soulless bio-machines hasn’t necessarily been of great benefit to the way we treat each other and it can cultivate a “who cares what I do mentality”. Steampunks are trying to pretend that whilst technology has progressed, aesthetics and morality have remained unchanged.

Imagine a society with highly developed technology that evolved slightly different to how society actually did. A society that kept steam and the the pride of creating beautiful, well-made, long-lasting things that were used in every day life from machines to fashion. People of this society enjoy their technology and take great pride in everything that they make. Imagine a world without plastic and with people who actually enjoy learning and creating! Too bad society didn’t turn out this way, but perhaps Steampunks can turn it around. Steampunks and Goths would be considered to be weird geeks by many people of today who don’t question society’s throw-away mentality.

  • Steampunk on Wikipedia
  • Steampunk Magazine
  • Steamgoth Livejournal

How to be goth at church

Emo is modern punk with a dark fashion sense. Bands such as Green Day, Blink 182, My Chemical Romance, Fall Out Boy and Weezer are Emo. It is pop-punk and has nothing to do with Goth besides having a dark fashion sense.

  • Emo on Wikipedia
  • List of Emo Bands

How to be goth at church

That’s a good question. Everything and nothing. Everyone says that Goth evolved from Punk in the 70s. Why might that be? The popularity of Punk started waning probably around the late 70s and a few Punk bands dissolved and formed new bands with new looks and a dark theatrical rock sound. The music was different but the band members had a Punk background. Imagine someone who is in a Jazz band who leaves that band and joins a Country band….would you then call the Country band Jazz? Of course you wouldn’t. That being said, some of these new bands were labelled Positive Punks (Posi-Punk).

Punk had a rebellious anti-conformist attitude towards society and therefore the word Punk become synonymous with rebellion. Goths and Steampunks do not so much rebel against society but sort of ignore it and have formed their own society. Yet, they are influenced by modern society in an artistic sense in that the art, music and fashion of the Goth culture reflects the horrors of modern society. So punks might have reacted to society with anger and violence while Goths will peacefully paint you a picture to show you what they think of society.

How to be goth at church

Musicians who initially shaped the aesthetics and musical conventions of gothic rock include Marc Bolan, the Velvet Underground, the Doors, David Bowie, Brian Eno, Iggy Pop and the Sex Pistols. Journalist Kurt Loder wrote that the song “All Tomorrow’s Parties” by the Velvet Underground is a “mesmerizing gothic-rock masterpiece”.

Critic John Stickney used the term “gothic rock” to describe the music of the Doors in October 1967, in a review published in The Williams Record. Stickney wrote that the band met the journalists “in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors”.

Nico’s 1969 album The Marble Index is sometimes described as “the first Goth album”. With its stark sound, somber lyrics, and Nico’s deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement.

Black Sabbath’s 1969 debut album created a dark sound different from other bands at the time and has been called the first ever “Goth-rock” record (Baddeley 2002: 264).

In the late 1970s, the word “gothic” was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine and Joy Division. In a live review about a Siouxsie and the Banshees’ concert in July 1978, critic Nick Kent wrote that concerning their performance, “parallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground”.

With the birth of this new music came the birth of a new fashion that was borrowed from the punk look and given a darker edge. But Goth fashion hasn’t just borrowed from the Punks. There are many different styles influenced by fashions of earlier eras. but you can read more about that on the fashion page. But this was just the birth of modern Goth music and fashion and not what Goth is. After all Goth is just beauty that is found in the darker things in life. Dark music has been around since music began and so have people who have found beauty in darkness. Who can honestly say that Carl Orff’s O Fortuna, which is often mistakenly called Carmina Burana (circa 1935) and the poem Gloomy Sunday that was originally written by the Hungarian LГЎszlГі JГЎvor and made famous by the singer Billie Holliday are not everything that Goth is? The songs of Hildegard of Bingen (born 1098) are very similar sounding to some contemporary Goth songs by the band This Ascension and even Qntal. As for early Goth people, how about Edgar Allan Poe, Charles Addams, Edward Gorey and perhaps even the virgin Queen Elizabeth I? The Goth band Faith and the Muse have brought one of Elizabeth’s songs to life in the song entitled “Importune Me No More”. Her father Henry VIII also wrote the very haunting song “Greensleeves”. Lorenna McKennitt sings a nice version of this song. So Goth has always existed but the music, fashion and people weren’t labelled Goth until about the late 60s.

Most Goths have heard of the The Batcave but what exactly was it why is it such a big deal to the Gothic subculture? The Batcave was essentially the womb for the contemporary Goth subculture which gave birth to a new fashion and music scene. It was a nightclub that was opened by lead singer Ollie Wisdom and his band Specimen in Soho, London in 1982. It wasn’t intended to be “Goth” as such but that’s the way it turned out and it essentially became the first Goth club. Read more about The Batcave

  • BBC News Article about Goths – Upwardly Goth
  • Reading Goths the Birmingham Way
  • Goth Stereotypes
  • Scathe Demon History of Goth
  • Hubpages History of Goth
  • History of Goth on gothicsubculture.com
  • Goths and Politics
  • English translation of O Fortuna
  • Gloomy Sunday on Wikipedia
  • Video of Diamanda Galas performing Gloomy Sunday
  • Hildegard of Bingen on Wikipedia
  • Wikipedia article on Gothic Fiction

Our editors will review what you’ve submitted and determine whether to revise the article.

Gothic art, the painting, sculpture, and architecture characteristic of the second of two great international eras that flourished in western and central Europe during the Middle Ages. Gothic art evolved from Romanesque art and lasted from the mid-12th century to as late as the end of the 16th century in some areas. The term Gothic was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the nonclassical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culture in the 5th century ce . The term retained its derogatory overtones until the 19th century, at which time a positive critical revaluation of Gothic architecture took place. Although modern scholars have long realized that Gothic art has nothing in truth to do with the Goths, the term Gothic remains a standard one in the study of art history.

How to be goth at church

Architecture

Architecture was the most important and original art form during the Gothic period. The principal structural characteristics of Gothic architecture arose out of medieval masons’ efforts to solve the problems associated with supporting heavy masonry ceiling vaults over wide spans. The problem was that the heavy stonework of the traditional arched barrel vault and the groin vault exerted a tremendous downward and outward pressure that tended to push the walls upon which the vault rested outward, thus collapsing them. A building’s vertical supporting walls thus had to be made extremely thick and heavy in order to contain the barrel vault’s outward thrust.

Medieval masons solved this difficult problem about 1120 with a number of brilliant innovations. First and foremost they developed a ribbed vault, in which arching and intersecting stone ribs support a vaulted ceiling surface that is composed of mere thin stone panels. This greatly reduced the weight (and thus the outward thrust) of the ceiling vault, and since the vault’s weight was now carried at discrete points (the ribs) rather than along a continuous wall edge, separate widely spaced vertical piers to support the ribs could replace the continuous thick walls. The round arches of the barrel vault were replaced by pointed (Gothic) arches which distributed thrust in more directions downward from the topmost point of the arch.

How to be goth at church

How to be goth at church

Since the combination of ribs and piers relieved the intervening vertical wall spaces of their supportive function, these walls could be built thinner and could even be opened up with large windows or other glazing. A crucial point was that the outward thrust of the ribbed ceiling vaults was carried across the outside walls of the nave, first to an attached outer buttress and then to a freestanding pier by means of a half arch known as a flying buttress. The flying buttress leaned against the upper exterior of the nave (thus counteracting the vault’s outward thrust), crossed over the low side aisles of the nave, and terminated in the freestanding buttress pier, which ultimately absorbed the ceiling vault’s thrust.

These elements enabled Gothic masons to build much larger and taller buildings than their Romanesque predecessors and to give their structures more complicated ground plans. The skillful use of flying buttresses made it possible to build extremely tall, thin-walled buildings whose interior structural system of columnar piers and ribs reinforced an impression of soaring verticality.

Three successive phases of Gothic architecture can be distinguished, respectively called early, High, and late Gothic.

Early Gothic

This first phase lasted from the Gothic style’s inception in 1120–50 to about 1200. The combination of all the aforementioned structural elements into a coherent style first occurred in the Île-de-France (the region around Paris), where prosperous urban populations had sufficient wealth to build the great cathedrals that epitomize the Gothic style. The earliest surviving Gothic building was the abbey of Saint-Denis in Paris, begun in about 1140. Structures with similarly precise vaulting and chains of windows along the perimeter were soon begun with Notre-Dame de Paris (begun 1163) and Laon Cathedral (begun 1165). By this time it had become fashionable to treat the interior columns and ribs as if each was composed of a bunch of more slender parallel members. A series of four discrete horizontal levels or stories in the cathedral’s interior were evolved, beginning with a ground-level arcade, over which ran one or two galleries (tribune, triforium), over which in turn ran an upper, windowed story called a clerestory. The columns and arches used to support these different elevations contributed to the severe and powerfully repetitive geometry of the interior. Window tracery (decorative ribwork subdividing a window opening) was also gradually evolved, along with the use of stained (coloured) glass in the windows. The typical French early Gothic cathedral terminated at its eastern end in a semicircular projection called an apse. The western end was much more impressive, being a wide facade articulated by numerous windows and pointed arches, having monumental doorways, and being topped by two huge towers. The long sides of the cathedral’s exterior presented a baffling and tangled array of piers and flying buttresses. The basic form of Gothic architecture eventually spread throughout Europe to Germany, Italy, England, the Low Countries, Spain, and Portugal.

A professional dancer goes back to school to transition into a new career

VIS18 Assignment 2: Essay

How does the design of Gothic cathedrals incorporate light, and why? Analyse two to four examples in depth to support your argument.Shin

The quest for light was the force that drove cathedral architecture into the Gothic era. The philosophical ideologies of the time connected God with light, and architects began to research ways to reflect this connection when building cathedrals. The abbey church of St-Denis is considered to be the first Gothic structure to incorporate these new methods to maximize interior light. To take these ideas even further, the Notre-Dame de Paris was one of the earliest cathedrals to use external flying buttresses to create a structure rich in window space. Light is also used in Gothic architecture to portray narrative, as demonstrated in the stained glass window art in the Chartres Cathedral. This essay argues that the importance of light in the architecture of Gothic cathedrals was born of a desire to fuse physical and metaphysical ideas, creating sacred spaces for connecting the physical self with the spiritual.

The growing importance of light in cathedral architecture in the twelfth and thirteenth century has been argued to directly correlate with the philosophical ideologies of the time. Influenced by philosophers Plato and Dionysius, light was believed to be “the most noble of natural phenomena, the least material, the closest approximation to pure form” (Von Simpson 1962, 51). Von Simpson (1962, 53) observed the extension of these ideas to religion, as light was considered to be “the most direct manifestation of God”. These philosophies influenced the architecture of religious structures, as light was “the thing that enabled a stone or piece of wood to serve as a vehicle for experiencing God” (Scott 2003, 123). The cathedrals built in this time “amounted to a neo-Platonic attempt to materialize and reflect spiritual perfection in the earthly sphere” (Scott 2003, 131-132). Creating cathedrals with an abundance of interior light became of utmost importance during this period.

Interior light, however, was not a prominent feature of the cathedrals that pre-date the Gothic period and new methods of construction needed to be discovered. As Gilgoff (2003) notes, “light was a scarce commodity in churches built in the prevailing Romanesque architectural style”. Gilgoff (2003) goes on to note that the heavy barrel-vaulted ceilings in Romanesque churches “meant few windows and a gloomy interior”. The desire to achieve greater height and replace as much wall space with windows as possible “led builders to perfect the coordinated interplay between ribbed vaults, pointed arches, and flying buttresses that distinguished the Gothic style” (Scott 2003, 134). These methods were primarily “developed in the service of the desire to flood the interior space with as much light as possible” (Scott, 2003, 109). This style of cathedral architecture became what is now known as the Gothic style that defined the era.

The abbey church of St-Denis has become widely accepted as the first structure that reflected this new Gothic style. While Scott (2003) notes that St-Denis cannot actually be classed as a cathedral, it is undeniably relevant to Gothic architecture as “the ancestry of every subsequent gothic church in the world… can be traced back to it” (Honour and Fleming 2009, 376). The man hailed as responsible for the innovation was the abbey’s Abbott Suger. Arguably, Suger manipulated the ideological claims of the abbey’s patron saint Denis (Pseudo-Dionysius) “to justify the materialism of his program” (Honour and Fleming 2009, 399). Regardless of his motivations, the quest for light brought about innovation by using well-established techniques of construction and combining them to create “an interior of unprecedented clarity” (Honour and Fleming 2009, 376). It is also worth noting that “it was at St-Denis that figurative stained glass windows… were first given the importance they were to retain for some four centuries in northern Europe” (Honour and Fleming 2009, 381). By creating his church in his image of heaven, Abbott Sugar arguably set the wheels in motion for the Gothic era.

The success of such innovation at St-Denis spurred the same ideas to be incorporated to larger cathedrals throughout France. However, rather than directly recreating the design of St-Denis, architects used this knowledge in “projects that explored the implications of Abbot Suger’s ideas” (Scott 2003, 14). Less than 20 years after the consecration of St-Denis, work began on what is now Paris’ most iconic Gothic cathedral, the Notre-Dame de Paris (Honour and Fleming 2009). Although more recent research disputes the claim (James 1992), it was believed for many years that “the first externally visible flying buttresses were those planned and built on the nave of Notre- Dame de Paris” (Clark and Mark 1984, 47). The structural support that the external flying buttresses provided allowed more opaque walls to be replaced with windows creating the light interior that defined the Gothic style.

Another way that light was used in the architecture of Gothic cathedrals was the use of stained glass to portray narrative. Aubert (1923, 266) notes, the Chartres Cathedral uses its stained glass windows to represent the life of Christ and his ancestors. When looking upon the rose window in the north transept, “every element in the design points toward the Virgin and Child in an intricate network binding the Old Testament to the New” (Honour and Fleming 2009, 384). Honour and Fleming (2009, 384) note that stained glass window art could have been considered a visual form of the Bible for the poor and illiterate. However, Rudolph (2011, 413) argues, “the depiction at Chartres is fundamentally one that participates in a literary culture, requiring for its comprehension either literacy or oral guidance by one who is literate”. Although the narratives often require captioning and explanation to fully comprehend their meaning, the use of stained-glass art in the cathedral use light to tell stories and create a sacred atmosphere.

It has been argued that Gothic architecture fused physical and metaphysical ideas to create the light-filled cathedrals of the era. Structural innovations that allowed for more interior light were discovered in response to ideologies that God was equated with light. The ideas that began at St-Denis were built upon to create masterpieces like the Notre-Dame de Paris or the Chartres Cathedral. By letting in more light, architects believed they were letting in God.

Reference List:

  • Aubert, Marcel. 1923. “Stained Glass in Chartres Cathedral.” The Burlington Magazine for Connoisseurs 42(243): 266-273.
  • Clark, William, and Robert Mark. 1984. “The first flying buttresses: a new reconstruction of the nave of Notre-Dame de Paris.” The Art Bulletin 66(1): 47-65.
  • Gilgoff, Dan. 2003. “Gothic Glow How a Canny Abbot and an Unknown Architect Let In The Light.” US News & World Report 134(23): 59.
  • Honour, Hugh, and John Fleming. 2009. A World History of Art. 7th ed. London: Laurence King Publishing.
  • James, John. 1992. “Evidence for Flying Buttresses before 1180.” The Journal of the Society of Architectural Historians 51(3): 261-287.
  • Rudolph, Conrad. 2011. “Inventing the exegetical stained-glass window: Suger, Hugh, and a new elite art.” The Art Bulletin 93(4): 399-422.
  • Scott, Robert. 2011. The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral. Los Angeles: University of California Press.
  • Von Simson, Otto. 1962. The Origins of Gothic Architecture and the Medieval Concept of Order. 2nd ed. New York: Bollingen Foundation.