# data[].attributes.headline
Saint Petronilla, Montacada family chapel in the Cathedral of Lerida, c. 1330–1400 BCE, limestone, 79.5 in. [The Metropolitan Museum of Art, New York]

# data[].attributes.subject
Saint Petronilla, Montacada family chapel in the Cathedral of Lerida, c. 1330–1400 BCE, limestone, 79.5 in. [The Metropolitan Museum of Art, New York]

# data[].attributes.body
Saint Petronilla, an early Christian saint, was said to be the daughter or convert “spiritual daughter” of Saint Peter. The chapel where this piece originates, was initially dedicated to Saint Petronilla,  but later rebuilt for her father who was said to have cured her of Palsy. The figure stands alone and has human characteristics that are slightly enlarged, it is placed in between two stained glass windows to allow the light to illuminate the figure.

# data[].attributes.body
This piece depicts Saint Petronilla, an early Christian saint, who was believed to be the daughter or a convert of the saint given the title of the “spiritual daughter” of Saint Peter. Because of her divine beauty, Peter had asked God to afflict her with fever until she was to be perfected in the love of god. After refusing the hand in marriage from Count Flaccus, it is said she died from hunger strike (Catholic Online). Her image is typically portrayed in or next to stained glass presumably to show her divinity and praise. The inclusion of this figure juxtaposed with the stained glass allows the viewer to experience a sense of higher being or increased spirituality.

Like this figure, many sculptures and images are seen in Cathedrals during the Medieval time period, with stained glass illuminating on or near them. This phenomenon or technique was originated by Abbot Suger to manifest “heavenly light” which was seen as the presence of god in the church. He applied these principles heavy to the Saint-Denis cathedral which was a prototype for a new type of architecture that was based on, “light, openness, and increasingly taller spaces (Reynolds, 3).” Additionally, the large and bright images and sculptures posed an inclusivity benefit to the church as uneducated individuals were now able to decipher and “read” the biblical scenes being portrayed. This new style is seen in the Montacada family chapel in the Cathedral of Lerida, and as discussed– within the Saint Petronilla statue. As stated previously, the abstracted humanistic forms along with the illumination of light from the stained glass, created a “heavenly” or divine feeling when in the presence of the figure and Cathedral itself.

Sources:

Reynolds, Elizabeth (Aislin) (2013) "The Development of Stained Glass in Gothic Cathedrals," JCCC Honors Journal: Vol. 4 : Iss. 1 , Article 3.

Catholic Online. “St. Petronilla.” Catholic Online.

# data[].attributes.headline
Virgin and Child, Europe, 19th century, Elephant Ivory [The Metropolitan Museum of Art, New York]

# data[].attributes.subject
Virgin and Child, Europe, 19th century, Elephant Ivory [The Metropolitan Museum of Art, New York]

# data[].attributes.body
This sculpture from the middle ages is of the virgin Mary and Christ the child. The sculpture stands alone, showing the importance of the scene at hand. This is another example of the influence of religion on the time period and the art that was commissioned for cathedrals. Votive statues like this one within the right environment, like a cathedral, work to bring “heavenly” ambience to the church and its audience.

# data[].attributes.headline
Lintel with the Entombment of Christ (right) and the Holy Women and Angel at the Sepulchre (left), ca. 1220–30, with modern recarving, Limestone [The Metropolitan Museum of Art, New York]

# data[].attributes.subject
Lintel with the Entombment of Christ (right) and the Holy Women and Angel at the Sepulchre (left), ca. 1220–30, with modern recarving, Limestone [The Metropolitan Museum of Art, New York]

# data[].attributes.body
Artists during the time tended to keep sculptures within a Cathedral similar in style, this piece is thought to be from Chartres Cathedral where similar sculptures reside. Medieval art was largely based on the theme of religion which most of the sculptures we look at in this gallery are scenes of Christ. This one is depicting the entombment of Christ. Typically, sculptures like this one are either surrounded or have the illumination of stained glass nearby.

# data[].attributes.headline
Foliate Border Section, France, c. 1140-44, stained glass [The Metropolitan Museum of Art, New York]

# data[].attributes.subject
Foliate Border Section, France, c. 1140-44, stained glass [The Metropolitan Museum of Art, New York]

# data[].attributes.body
This stained glass section was made in Saint-Denis, France. These sections are nested in a window depicting the infancy of Jesus and the life of Moses. The intricate foliage and the weaving of elements on this small section of the window, show the skill and importance of the piece that these are surrounding. Shining through the glass, a viewer gets a clear view of the divinity that they emit. Pieces frame the illumination for the focus of the pieces.

# data[].attributes.headline
Scenes from the Legend of Saint Vincent of Saragossa and the History of His Relics, France, ca. 1245-47, Stained glass [The Metropolitan Museum of Art, New York]

# data[].attributes.subject
Scenes from the Legend of Saint Vincent of Saragossa and the History of His Relics, France, ca. 1245-47, Stained glass [The Metropolitan Museum of Art, New York]

# data[].attributes.body
The scene on these glass panels depicts Saint Vincent’s confrontations with the roman king. The bottom displays two guards and the king, moving upwards, we see Saint Vincent and Bishop Valerius in chains. The top two depict Valerius and Vincents bodies being thrown into the sea with an angel at the topmost panel. This is a great example of the expressive style of glass that was forming in Paris at the time. Artists weren’t just creating pieces to “frame” sculptures or iconography, they were turning stained glass into its own art form and focal point.

# data[].attributes.headline
Rose window and lancets, north transept Chartres Cathedral, Chartres-France, ca. 1220 CE.

# data[].attributes.subject
Rose window and lancets, north transept Chartres Cathedral, Chartres-France, ca. 1220 CE.

# data[].attributes.body
Rose windows during the middle ages were a point of symbolism and introspection from the church. The window is an analogy between the heavenly kingdom of Jerusalem and the cathedral itself. This specific rose window is exemplifying the sacred geometry which was a new tactic of religious study, for example and equlateral triangle represents the holy trinity.

# data[].attributes.headline
Ambulatory and radiating chapels, Abbey church of Saint-Denis, France, c. 1140-1144 CE

# data[].attributes.subject
Ambulatory and radiating chapels, Abbey church of Saint-Denis, France, c. 1140-1144 CE

# data[].attributes.body
The ambulatory and radiating chapels at Saint Denis show off the “new” choir expressed by Abbot Suger. The circular string of chapels with vertical colored stained glass windows plays into the feeling that the church goes should feel. The beaming colorful light is a transformative experience that puts the viewer in an ethereal mindset. On the left most pillar, you can see the illumination effect starting to happen.

# data[].attributes.headline
Interior and vaulting of Chartres Cathedral, Chartres-France, c. 1194 CE.

# data[].attributes.subject
Interior and vaulting of Chartres Cathedral, Chartres-France, c. 1194 CE.

# data[].attributes.body
Pictured is the ribbed vaulted ceiling of Chartres cathedral. Ribbed vaulting along with stained glass chapels, is a key element of gothic architecture. The vaulted ceilings juxtaposed with the verticality of the stained glass panels, gives the space an illusion unlimited height and grandness. This phenomenon is brought on by the light and shadows that are beaming from the colorful stained glass.

# data[].attributes.headline
Interior, Nave and lateral sectioning of Interior of Durham Cathedral, England, ca. 1093

# data[].attributes.subject
Interior, Nave and lateral sectioning of Interior of Durham Cathedral, England, ca. 1093

# data[].attributes.body
The interior of the Durham Cathedral in England is a perfect example of what the architecture, light, and space does to enhance the divine environment within the church. All of the detail and work put into each section of church shows the importance of the space for society. The rose window placed centrally above the altar illuminates light and casts shadow in the most spectacular places. The light along with the typical gothic architecture elements like ribbed vaults on the ceiling and the verticality of the several storied elements (clerestory, gallery, arcade), work together to make the space look and feel grand.

# data[].attributes.headline
Abbey church of Saint-Denis, west facade, France, c. 1135-1140 CE

# data[].attributes.subject
Abbey church of Saint-Denis, west facade, France, c. 1135-1140 CE

# data[].attributes.body
Pictured is the west facade of the Saint-Denis cathedral in France. St Denis was renovated by Abbot Suger, the “father of stained glass,” in hopes to turn the cathedral into a reliquary. From the facade you can see gothic architecture and the expansion of space having the building divided both horizontal and vertically. Additionally, you can see the addition of two rose windows to let in a large amount of light.

# data[].attributes.body
In this gallery we will be discussing and visualizing the role that stained glass plays in creating a divine experience within cathedrals, focusing specifically on the Saint-Denis Cathedral in France. Throughout the objects we will look at how the developments of focus on light and space in medieval art, have influenced the pieces and artists. Additionally, we will go over key themes associated with the time period. As you walk through, try to imagine yourself in the environment of these objects or spaces. This will help you understand the transcendent feeling of everyone that interacts with the objects or in these spaces. By the end of the gallery, you will have a concrete understanding of the importance and influence of the integration of light in gothic architecture during the Medieval time period.

# data[].attributes.body
The first section of this exhibition will be centered around sculptures that live within a space. We will be looking at how these objects are interacting and responding to their environments. A discussion about light and its relationship with these objects will be heavily considered. Even though the objects on display are from different locations, you will see parallels between carving styles, mediums, and figure representation.

# data[].attributes.body
The second section of objects will include stained glass within cathedrals along with the architecture of the cathedrals themselves. Again we will look at the relationship that light has with these very gothic architecture characteristics and how they are transforming the space. The architectural and light transformations are discussed within the objects, and reverberate visually.

# data[].attributes.body
Throughout the entirety of the gallery common medieval themes will come to the surface. You will start to see a pattern of christian values and representations in all of the objects, the major role that religion played during the time period is represented in its art work. Additionally, the theme of intricacy and quality of medieval art will be recognized. It wasn't uncommon, at the time, for the rich to commission artists to spend countless hours on spectacular works of art made with the highest quality materials.

# data[].attributes.body
During the medieval times, 400-1450 CE, a vast amount of art from a variety of styles, locations, and periods emerged. Art during these times are iconically known for their themes of Christianity and power that is shown through the intricacy and valuable materials of the work. Instead of focusing on the obvious themes of the time, I choose to look at another principle or element that emerged. The phenomenon of gothic architecture and the space and light that was cast throughout, has always intrigued me. For this exhibition, I wanted to focus on the light as a source of enhancement when it came to the architecture, sculptures, icons, and general works of art within the cathedrals. The relationship of stained glass within these spaces and objects, allows the audience to be transported into a divine state. This technique of heavenly ambiance was influenced by Abbot Suger the “Father of Stained Glass.” This concept, “became the prototype for this new type of architecture based on light, openness, and increasingly taller spaces” (Reynolds, 5), that would continue on after its erection. Throughout the gallery it is abundantly clear that this technique, and the incorporation of stained glass, influences and revolutionized the way artists and the audience interact with the space.

The beginning of the gallery introduces the relationship between stained glass and sculptural objects within the space. Usually these sculptures are a representation of a votive or funerary object of a person of importance, on display. Sure these sculptures in themselves are beautiful works of art that should be recognized, but less apparent is the feeling that the audience would embrace when in the actual space. Typically, these objects would be placed in between a set of stained glass windows. This allowed for the ethereal colors from the glass to illuminate these sculptures and take the audience into a “heavenly state.” At Saint-Denis cathedral, this idea is very prevalent. The rose window situated on the west facade, a later object in the gallery, discusses the concept of a portal from the heavenly world to the cathedral on earth. Artist wanted the audience to not only imagine and pray but feel God's presence through light. Historian, Deyemi Akande shares their experience with the sculptures and artwork within Saint-Denis in their research, “Saint-Denis, The Bishop, The Basilica, and The Builder.” In this article, the relationship between life and death is heavily discussed, “As you walk among the remains of early French royals, you cannot help but feel that the dead are alive and sculpturally animated within these walls.” Even though she is walking through more modern reconstruction of these sculptures, it is clear that the audience is getting this feeling of transcendence from the light that is emitted from the stained glass.

For the second half of the gallery, we look at the cathedral spaces themselves and the typical gothic characteristics. Again, we see the strategy of these architectural attributions and their association with light and stained glass. These concepts were mentioned earlier with the discussion of Abbot Suger and Saint-Denis cathedral. Gothic architecture was opening up the space, enhancing the verticality of the building and allowing light to play a major role. In Reynold’s dissertation these advancements are explained in detail, “One of the most important advancements was the development and use of the flying buttress...This allowed an increase in window size as well as more wall space to be occupied by windows.” Throughout the gallery we see all these elements playing and benefiting one another. This is exemplified in the interior and vaulting at the Chartres cathedral (gallery object 8), the stained glass windows and the ribbed vaulted ceilings, are playing with one another to increase the space through light and shadow. This is seen in most of the architectural objects within this gallery, no matter if its stained glass panels or a rose window, the light that illuminates these cathedrals is transcendent and magical.

The themes of this gallery, the relationship between light and object or structure, was intriguing to me. I felt that this production that was created when entering the structures was quite a thorough and magnificent thing. I often read or hear stories about visiting some of these places and the feelings that are bestowed on its audience. Gothic architecture has a way of transcending an individual to a heightened state through the way that they choose to build and represent their values. I wanted to show this strong religious emphasis during the middle ages in a different less direct light. Even though stained glass may not explicitly state or illustrate religious scenes or votives, there is something to be said about the heavenly nature they influence within the space. They are a gateway to god for many, and an illuminator for the votive statues that live inside of the space. I hope to be fortunate enough to stand within the realms of these techniques in the future to experience the ethereal feeling and stand closer with my god. Even if you’re not religious in the sense of a higher being, you can still feel and appreciate the thought, craft, and beauty that was put into these structures.

Reynolds, Elizabeth (Aislin) (2013) "The Development of Stained Glass in Gothic Cathedrals," JCCC Honors Journal: Vol. 4 : Iss. 1 , Article 3.

Department of Medieval Art and The Cloisters. “Stained Glass in Medieval Europe.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, Oct. 2001.

“History of the Monument.” Centre Des Monuments Nationaux.

Sowers, Robert W. “Stained Glass.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 31 Jan. 2021.

Akande, ‘Deyemi. “Saint Denis: The Bishop, The Basilica, The Builder.” Society of Architectural Historians, 27 June 2017.