The 13th century Cathedral…

The facade of the years 1134-1160

The façade dates back to 1134-1160 and is without a doubt the largest portion preserved before the 1194 fire, and it served as a starting point for the new construction.

Keeping the incomparable south tower, the north belfry – corresponds to the three lower stages of the current spire, as well as the Royal Portal and the overlooking windows. A large rose window was added above to compensate when the façade was made taller from the previous 12th century gable.

The 11th century crypt

The crypt is from the 11th century and was spared by the fire. It determined the plan of the new Cathedral, both by width and length.

The corridors of the crypt determined the points of reference for the foundation of the Gothic Cathedral, giving the nave an exceptional range of 16.4 m – the largest of all Gothic Cathedrals.

A double ambulatory

The previous Cathedral had a ambulatory and three radiating chapels, the Gothic Cathedral was built with a double ambulatory and seven radiating chapels. The choir is long with four bays, adapted from the important section – 72 canons – who sit here. The transept is equally apparent, conforming to the plan of the 10th century church. It is here that the Cathedral of Chartres is particularly developed, serving as a solemn passage that accommodates for liturgical processions.

The architects

Unfortunately, we do not know the names of the architects who created the structure of the Cathedral of Chartres, but we do know they were influenced from further north from the Ile-de-France and Picardie. These are areas where Gothic art had been rising in popularity for decades. Chartres is in continuity with Noyon, Laon and Soissons, whose works were still unfinished in 1194, inspired the solutions to several technical issues.

There were probably several architects involved: we cannot assume that there was one “chief architect of Chartres” who made all of the decisions regarding the plan and elevations, what would be changed and what would remain the same, as work progressed.

It must have been a collective process, demonstrating the ambition and inventiveness of the generation of masons, as seen in several cathedrals.

Vaults and Arches

Innovations were incorporated cautiously, yet decisively.

The cross ribbed vaults were according to an oblong plan: the keystone of each vault corresponding to four diagonal arches, inside of a rectangular form.

The transverse arches and formets – situated laterally above the high windows – completing the schema of division of forces, more efficient, which shows a slight transition around a different concept of architecture: a contemporary idea of a sail..

Windows and Arcades

The stone for the walls begins to become less and less, with glass as its replacement. This takes form in the high windows. Not only does this give a new physical dimension, but also a spiritual one as believers gaze upwards. The Cathedral means to evoke a “celestial Jerusalem” with the colors representing precious jewels of the sacred city described in the apocalypse.

Each bay is composed of two lancet windows and one rose window, who occupy the entire area between two columns. This also recalls a solution that had recently appeared at Picardie. Strong rays of light shine directly into the nave, contributing to the express effort of the builders to lighten the supports: light is understood as the expression of the Divine.

The grand arcades are the same height as the upper bays. They rest on pillars of clustered pillars, which adopts a rhythm that breaks up the uniformity of the mighty vessel: an angular pillar with circular columns, succeeded by a circular pillar with angular columns.

Triforium

However, the nave and side aisles must be followed slowly to appreciate the horizontal lines: the pillars are solidly moored to the pavement and the triforium marks a new supplementary level when considering the complete building.

The restoration of the inner walls give us other truths.

The ochre coating, with its design of false ashlar appearance, brings the wall to a softened hue where light from the stained glass can be found. The mystique of the medieval was strong enough to give meaning to it: the varied colors are human things, rendered visible by the true light of God, the Creator.

The supporting elements – columns, arches – appear in white. The forces developed by the architects are made visible.