Firstly, we shall examine the structural characteristics of Chartres, and how it differs architecturally from its predecessors of Laon and Notre Dame of Paris. The early gothic structure of Chartres was burned down in a fire of 1194, causing the majority of the cathedral to be rebuilt in the High Gothic style by 1220. Chartres is known as the one of the first High Gothic buildings completed, as the original architectural plans included flying buttresses.
These flying buttresses, which were left exposed, gave a new dramatic flare to the exterior ornamentation of the structure, and were used both for their structural integrity and aesthetic appeal. They also allowed the planners of Chartres the liberty and freedom to open up the interior space, and allow a new re-organization of the cathedral using the innovative rectangular bay system. The alternate-support system was all but gone in the reconstruction of Chartes, and the new nave opened up a great-unified hallway of space.
Another benefit of the flying buttresses in Chartres was their ability to further effect the interior organization of the cathedral through the implementation of a new wall elevation- the tripartite nave elevation. This new elevation system, which eliminated the tribune gallery system, emphasized the clerestory windows and simplifies the interior space by cutting the vertical division from four stories into three.
All this emphasis on the opening of interior space and unification and simplifying of the nave move to the next logical step in defining the importance of Chartres Cathedral in the evolution of the High Gothic- its stained glass windows. The stained glass windows at Chartres are renowned for their richness and beauty. The more wall space was opened up and simplified, the more space was available to be decorated with the ornate stained glass masterpieces, which still exist today. The famous Blue Virgin window completed around 1150 and more than 150 early 13th century windows make Chartres one of the most complete collections of medieval stained glass still in existence.
The beauty and stories told through the stained glass reflects the culture and lives of the middle ages, and were used to teach pilgrims and the illiterate religious piety and stories. Space and atmosphere are cultivated into a colorful, rich experience that truly epitomizes the original goals of the early scholars of the Gothic style. And just as the windows inside the cathedral told stories and history, the exterior sculpture of Chartres is just as renowned in its significance and beauty.
Moving to the exterior of the building, we see that Chartres has continued the continuing desire for towers, porches and portals that the Early Gothic established. The two towers of Chartres Cathedral echo the main West End towers at Laon, and the two porches at the end of each transept repeat the hooded porches at Laon as well.
However, it is to be noted that the portals at the West End of Chartres remain as some of the finest examples of early gothic sculpture still in existence today. From the portals of the West End, we see the beginning desire of the sculptor to synthesize the figural form with the architectural mass. The doorjambs, with elongated bodies and calm faces, are as much a part of the overall architectural form as they are a move away from traditional medieval sculpture.
As we move to the north and south porches, we see the continuation of the early gothic sculpture evolve into a freer, more humanized representation of the human body. The sculpture on the exterior of Chartres stands out as some of the finest and significant stonework still present on High Gothic cathedrals today.
In conclusion, Chartres Cathedral synthesizes many of the achievements that cathedrals precluding it during the Early Gothic strove for. The technological and structural marvels, with its rich and beautiful ornamentation, bring together the Early and High Gothic in a structure that crowns the age of the Gothic Cathedral. From its flying buttresses, to the stained glass and ornamental sculpture, Chartres Cathedral begins to bring the entire vocabulary of the High Gothic together. Only in Chartres Cathedral's counterparts in Amiens and Bourges do we see a match for the epitome of High Gothic in France.
