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This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century.
This study of the spectacular ensemble of windows of the Sainte-Chapelle in Paris- the first in-depth examination of the glass in nearly half a century- asks the question, are the scenes depicted in the stained glass comprehensible as story? Through an exhaustive study of textual and visual restoration records and extant authentic panels, Jordan posits reconstructions of the chapel's large-scale windows as they would have appeared in the 13th century. Jordan's work employs medieval understandings of narrative theory and practice to demonstrate a coherent and intertextual story of kingship in the windows' implicit antiphonal invocation of Biblical heroes and Capetian monarchy. Each chapter examines a formal aspect of the narratives depicted in the windows and elucidates it through comparison with similar techniques employed in medieval literature and articulated in the ars poetriae, rhetorical treatises devoted to the theory and practice of medieval storytelling. In the final chapter Jordan draws on both the narrative devices employed in the biblical windows and the evidence of her reconstuctions to argue for a new identification of the so-called Relics window as a Royal window chronicling the history of the kings of France. Jordan convincingly demonstrates that, far from a cacophonous assemblage of images, the Sainte-Chapelle glass adeptly employs a variety of fashionable narrative devices, and proposes that the chapel's Old Testament windows were manipulated in such a way as to craft from the biblical narratives a visual essay on kingship that articulates the foremost components of French medieval monarchic rule and the specifically Capetian claims to sacral kingship. In both its theoretical scope and the originality of its reconstructions of the windows, Visualizing Kingship provides an important contribution to Art History and intellectual history more generally.
The Image of Edessa, also later known as the Mandylion, was a relic of Christ, a cloth imprinted with his features which he had used to wipe his face, and subsequently used to cure King Agbar of Edessa, the first Christian ruler. This book collects and provides parallel translations of all the available written evidence for the image, along with detailed analysis of the history of the image. Guscin deftly seperates fact from legend, for while the story of King Agbar is certainly mythical, an image of some sort did definitely exist by the mid tenth century when it was translated to Constantinople.
Great Gothic Cathedrals of France guides readers on a tour of twelve French cathedrals that best exemplify one of the greatest glories of Western civilization. From the beautiful facade of Notre-Dame in Paris to the transcendent beauty of the stained glass at Chartres, this book clarifies the significant elements of their architecture by means of its text and images. The cathedrals of Amiens, Paris, Saint Denis, Chartres, Reims, Laon, Noyon, Soissons, Sens, Beauvais, Bourges and Troyes as well as Sainte-Chapelle are all presented to give the reader and visitor to France a clear understanding of these extraordinary buildings. This publication also provides the reader with a chapter on how to "read" a stained glass window.
Angels are sculpted everywhere in Paris, not just on churches but in unexpected places: holding a lightning rod atop the Théâtre du Châtelet’s roof, adorning a seventeenth-century gilded sundial inside a courtyard at the Sorbonne, hovering above a railroad headquarters where a beautiful stone frieze features young angels flying in to work on the tracks. Subtly, subliminally, the angels are a part of the fanciful and romantic spirit of Paris. Angels of Paris is the first book to explore this intriguing and extraordinary subject. Angels of Paris features beautiful photographs taken from dawn to dusk, in all seasons, accompanied by text explaining the story behind the creation of each angel and of the location in which it is found. Organized chronologically, the book delves into the artistic trends and historic movements the angels reflect and the stories of the artists who created them and of those who commissioned them. Readers will learn about Paris’s history, buildings, and monuments through the abundant, beautiful, and surprising depictions of angels from the Middle Ages to the twentieth century. Rosemary Flannery has found angels in friezes, plaques, and free-standing sculpture; on fountains and façades, clocks and sundials, monuments and mansions, rooftops and window frames. Angels of Paris is a unique way for lovers of Paris to learn more about the city in a new and unusual way.
A terrifying, suspenseful, and grim exploration of the circumstances under which animals become man-killers as told from the perspective of a huge and formidable wolf-dog. Based on true events in 18th century France.
In this collaborative work seventeen international scholars use contemporary methodologies to address the ways in which we understand Gothic church buildings today. Artistic Integration in Gothic Buildings discusses major monuments that have traditionally stood at the core of medieval art-historical studies: the cathedrals of Durham, Wells, Chartres, Reims, Poitiers, Strasbourg, and Naumburg, the abbey of Saint-Denis, and the Sainte-Chapelle of Paris. The contributors approach the subject from different specialties and methodologies within the field of art history, as well as from the disciplines of history, liturgical studies, and theology. Willibald Sauerl)nder's overview acknowledges that since the early nineteenth century scholars have been confronted with monuments that no longer perform their original functions. The moment of the creation of these great cages of stone, filled with images in metal, paint, glass, stone, and textiles, has passed as surely as Villon's `snows of yesteryear.' Artistic intentions shifted continuously over the centuries as these great buildings were adapted to new situations, historical, cultural, and religious. Once the settings for complex and diversified rituals of religious, social, and political dimensions, the buildings today stand in a completely different time frame and are experienced by a different audience. This volume addresses the hermeneutics of the development of scholarship concerning the Gothic church, reviewing the variable, but largely exclusive, agendas from the early nineteenth century to the present, including those of Viollet-le-Duc, Lef¦vre-Pontalis, M+le, Sedlmayr, Von Simson, Panofsky, Grodecki, and Bony. The conclusion is that there is no way to return to the original Gothic cathedral or the original audience. Artistic Integration in Gothic Buildings reassesses the traditional canon through a new pluralism of approaches and presents the Gothic church as an intricate and complex living monument that has been evolving over eight centuries and more.