Gothic Stained Glass

The architectural developments during the Early Gothic period, such as the pointed arch, cross vault and flying buttress radically changed the architecture of much of Medieval Europe. The lighter “bones” of this new style of architecture allowed for ever-soaring heights and lighter-appearing, more refined interior spaces. Builders also eliminated the massive load-bearing walls of Romanesque architecture, replacing the area between the vaults with colorful stained glass. Like all great discoveries in art, each generation builds upon those that precede them. Such was the case with the development of Gothic Architecture. The apex of the refinements in Gothic architecture are on display at Sainte-Chapelle in Paris.

Sainte-Chapelle was constructed beginning in 1243, completed around 1248, by King Louis IX (St. Louis) as a palace chapel to house relics. In their collection was a piece of the lance that pierced the side of Christ, a portion of the true cross, the sponge, and the crown of thorns. Louis purchased the relics from his cousin, Baldwin II, who was the emperor of Byzantium. Religious relics of this importance would require a magnificent chapel, and Sainte-Chapelle delivers.

The unknown project architect(s) worked with a new court style, experimenting with the relationships between solid and void, structure and ornament. Elegance permeates this style, which was logical, considering its use for the royal court. This new Court Style developed to contain more elaborate vaulting and ornamentation. The tracery became ever more intricate, and the stonework extravagant. The Court Style is also known as Rayonnant, a style that made walls disappear and replaced them with thin columns and vaults, skeletal tracery, and an explosion of colorful stained glass.

The Rayonnant Sainte-Chapelle consists of two levels. The lower chapel acted as a parish church for the palace staff, court, and members of the royal family. The upper chapel was for royal use only and to house the relics. It is an encrusted, gilded, jewel of a room with stunning, colorful stained glass. Sculpted figures of the apostles connect the painted and gilded lower walls with the upper walls, filled with beautiful stained glass. Still, the layout of the upper chapel is a simple open space that is two times as tall as it is wide. Vaults grow out of the piers, and combine with the window tracery, to form a skeletal support for all of the amazing stained glass. This framework acts like a guided frame surrounding a color painting of glass.

The glass at Sainte-Chapelle consists of deep red and blue colors that illuminate the interior of the space with violet light. The stained glass consists of a series of small, repeated medallions. This repetition is due to the speed of creation and does not steal from the beauty of the space. The simplicity of the design, adds to the overall composition, taking the focus away from one particular detail and allowing us to appreciate the color and design of the entire window.

Observing images of Sainte-Chapelle one can easily understand how the Rayonnant style became popular. Constructed in around seven years, St. Louis and his architect(s) created a structure that has cast its violet glow on visitors for centuries.

“Sainte-Chapelle.” Centre Des Monuments Nationaux,
www.sainte-chapelle.fr/en/.

Stokstad, Marilyn, “Medieval Art” Second Edition, Routledge, 2018, Print

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