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Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Catholic cathedral in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres.
Chartres' windows are celebrated for their cobalt blue, known as "Chartres blue" or "Romanesque blue", which first emerged in the workshops at Saint-Denis Basilica in the 1140s and was also used at Le Mans Cathedral. With a sodium base coloured with cobalt, it is the more resistant than reds and greens of the same era.
Whole window. Saint Thomas Becket window in Chartres Cathedral is a 1215–1225 stained-glass window in Chartres Cathedral, located behind a grille in the Confessors' Chapel, second chapel of the south ambulatory. 8.9 m high by 2.18 m wide, it was funded by the tanners' guild. [1]
A few important examples of 12th-century windows are found at Chartres Cathedral on the inside of the western facade, in three lancet windows under the rose window. These windows survived a devastating fire in the Cathedral in 1194, and are considered some of the best examples of 12th-century work in France. [5]
The parable of the Good Samaritan (Luke 10:30-37) [5] complemented by a series of Old and New Testament typologies served as a popular subject for cathedral glazing programs in the thirteenth century. [6] Three French cathedral windows fabricated between 1200 and 1215 function in this way: Sens (c.1200), Chartres (1205/1215), [7] and Bourges (c ...
Concentric, curving waves are characteristic of the process. The centre of each piece of glass, known as the "bull's-eye", is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the pontil mark, a distinctive lump of glass left by the "pontil" rod, which holds the glass as it is spun out ...
Beginning in 1911, he spent his summers in Europe, making a comprehensive study of stained glass in cathedrals. In 1921, he was granted permission to set up scaffolding inside Chartres Cathedral for several weeks, to sketch and examine the windows up close. The following summer he did the same at Leon Cathedral in Spain. [7]
Since six bas-reliefs by Charles-Antoine Bridan were placed inside the choir at the end of the 18th century, this level has been obscured by plaster. The upper part made up of niches and pinnacles is still wholly in the Flamboyant Gothic style, but the level uses the very un-medieval features of arabesque pilasters instead of ogives.