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.

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.

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.