Chartres And The Birth Of The Cathedral

This new and revised edition of Titus Burckhardt's masterpiece, Chartres and the Birth of the Cathedral, is a richly colored window onto the lofty intellectual and spiritual climate that conceived the marvel that is Gothic architecture. Featuring a new appendix with three sections, and a new Foreword by John James, a world authority on Chartres, as well as 25 new illustrations, it cannot fail to inspire the reader to become a pilgrim to Chartres.

The author is the world's foremost authority on Chartres, and is in residence there most of the year. He shows us the history of the cathedral and teaches us how to "read" the world-famous stained glass and sculpture, explaining the references to Scripture and the teachings of the Church. Chartres alone, of all the great medieval churches, has survived into the 20th century almost intact, not only architecturally but with its vast inconographic program in 12th-and 13th-century stained glass and sculpture. Medieval art was intended not just to embellish the church but to instruct the people, for there was no printing. Scholars could therefore teach their students, the clergy preach sermons and parents read the lives of the saints to their children using the 'texts' in stained glass and sculpture. The sister churches of Chartres have been sadly vandalized to varying degrees by Reform, revolution, war or natural disaster. Here in Chartres the 'text' is virtually complete. A concise glossary of symbolic images has been included as well as a complete plan of all the windows in the cathedral, and an index.

Explores the connection between ancient druidic worship of a virgin at Chartres and the veneration of the Black Madonna • Examines the Virgin Mary’s origins in the pagan worship of the Mother Goddess • Identifies Mary with the dominant solar goddess of matriarchal societies The great cathedral of Chartres is renowned the world over as a masterpiece of High Gothic architecture and for its remarkable stained glass, considered alchemical glass, and its mystical labyrinth. But the sacred foundations of this sanctuary go back to a time long before Christianity when this site was a clearing where druids worshiped a Virgo Paritura: a virgin about to give birth. This ancient meeting place, where all the druids in Gaul gathered once a year, now houses the magnificent Chartres cathedral dedicated both to the Virgin Mary, Mother of God, and to one of the most venerated Black Madonnas in Europe: Our Lady of the Pillar. Coincidence? Hardly, says Jean Markale, whose exhaustive examination of the site traces Chartres’ roots back to prehistoric times and the appeal of the Black Madonna back to the ancient widespread worship of Mother Goddesses such as Cybele and Isis. Markale contends that the mother and child depicted by the Black Madonna are descended from the image worshipped by the druids of the Virgin forever giving birth. This image is not merely a representation of maternal love--albeit of a spiritual nature. It is a theological notion of great refinement: the Virgin gives birth ceaselessly to a world, a God, and a humanity in perpetual becoming.

“[A] lively biography of Chartres Cathedral . . . Ball’s account of its construction reveals fascinating details.” —The New Yorker Chartres Cathedral, south of Paris, is revered as one of the most beautiful and profound works of art in the Western canon. But what did it mean to those who constructed it in the twelfth and thirteenth centuries—and why was it built at such immense height and with such glorious play of light, in the soaring manner we now call Gothic? In this work, Aventis Prize winner and National Book Critics Circle Award finalist Philip Ball makes sense of the visual and emotional power of Chartres and brilliantly explores how its construction—and the creation of other Gothic cathedrals—represented a profound and dramatic shift in the way medieval thinkers perceived their relationship with their world. Beautifully illustrated, filled with astonishing insight, Universe of Stone embeds the magnificent cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—enabling us to view this ancient architectural marvel with fresh eyes. “A terrific book . . . a lucid, thoughtful tour de force.” —The Christian Science Monitor “Engrossing . . . a resplendent account of the mysteries of Chartres Cathedral.” —Sunday Times “There is no better introduction to the subject.” —The Wall Street Journal

Chartres Cathedral, south of Paris, is revered as one of the most beautiful and profound works of art in the Western canon. But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this time, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic? Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason. By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

"An introduction to Chartres Cathedral with an analytical and historical essay, documents and source materials, critical essays, and 125 illustrations"--

Otto von Simson undertakes an interpretation of the Gothic cathedral as an image of supernatural reality. ... The author explores the influence of the religious experience on the style as well as the technique and practice of medieval art. -- Book jacket.