Gothic Cathedrals & The Middle Ages

The Power and the Glory
The middle Ages were a difficult, even brutal time for the common person to live. Life was short, often painful, and required backbreaking labor for survival. The feudal system was thriving at the time and many people labored mightily for barely enough sustenance to prevent starvation. Disease was rampant and often fatal, with diseases such as the plague that wiped out large portions of the population of Europe. There was little respite to be had from medical science at the time, as practices such as bleeding, leeching, and amputation were commonly used for a variety of ailments. In this time, Christianity and the Roman Catholic Church thrived, and is it any wonder?

The Church offered hope to many with hopeless lives, a chance for salvation beyond the mire and muck, the bloody and brutal existence that was life in the Middle Ages.

The Church offered a path to God’s grace, certainly an attractive offer at a time when the angry hand of God must have seemed omnipresent. The cathedrals that were constructed at this time were more than simple sanctuaries of worship; they were often by far the largest and most elaborate buildings in the medieval towns of Europe. They represented the pinnacle of architecture and construction, often taking years to build. These Gothic cathedrals were not built solely for the glorification of God, however. These cathedrals also served to propagate the religious message, the dogma, and the influence of the single most powerful organization in the world at the time, the Roman Catholic Church.

They represented the pinnacle of architecture and construction, often taking years to build. These Gothic cathedrals were not built solely for the glorification of God, however. These cathedrals also served to propagate the religious message, the dogma, and the influence of the single most powerful organization in the world at the time, the Roman Catholic Church.

All Gothic cathedrals contained architectural features that represented new ideas and departures from the neo-classic Greco-Roman style. Many of the architectural features of the Gothic cathedrals were steeped in symbolism and were essentially the glorification of God brought forth in physical form. For instance, the advent of the rib vault and pointed arch allowed the ceilings of Gothic cathedrals to be elevated to theretofore unseen heights with a minimum of masonry for support. The ceilings were literally reaching towards heaven, as this new architectural style allowed for a more spacious, truly awe-inspiring cathedral.

The exterior of the Gothic cathedral was just as ambitious and groundbreaking as the interior. The naves of some Gothic cathedrals were as high as modern-day fourteen-story buildings. The designs were mathematically proportional, however, and conceived to bring a structurally harmonious quality to the buildings. The exteriors were also festooned with ornamental details such as crockets and finials. In a seeming nod to paganism, gargoyles were often added for their presumed powers to ward off evil spirits.

The feature that truly set the Gothic cathedrals apart from their earlier Romanesque counterparts was the advent of the stained glass window. The rib vault and pointed arch style of construction allowed large portions of the cathedral walls to be covered with stained glass. The stained glass windows served dual purposes, as not only did they allow the cathedrals to be flooded with light; they were instructional, as well, as they depicted Biblical scenes of import.
One of the most well-known examples of Gothic cathedrals is the Cathedral of Notre Dame at Chartres, located in France. The location where the cathedral was constructed had long been considered a place of spiritual power by earlier pagan religions. The Cathedral was dedicated to the Virgin Mary, and subsequently became a major pilgrimage site for those who worshiped Mary. The primary theological message of the cathedral at Chartres is the veneration of the Virgin Mary, which was a popular and important aspect of Christianity in the Middle Ages. Much of the stained glass and sculpture on the cathedral is devoted to this subject.

The location where the cathedral was constructed had long been considered a place of spiritual power by earlier pagan religions. The Cathedral was dedicated to the Virgin Mary, and subsequently became a major pilgrimage site for those who worshiped Mary. The primary theological message of the cathedral at Chartres is the veneration of the Virgin Mary, which was a popular and important aspect of Christianity in the Middle Ages. Much of the stained glass and sculpture on the cathedral is devoted to this subject.

The location where the cathedral was constructed had long been considered a place of spiritual power by earlier pagan religions. The Cathedral was dedicated to the Virgin Mary, and subsequently became a major pilgrimage site for those who worshiped Mary. The primary theological message of the cathedral at Chartres is the veneration of the Virgin Mary, which was a popular and important aspect of Christianity in the Middle Ages. Much of the stained glass and sculpture on the cathedral is devoted to this subject.

The stained glass windows and sculpture in the cathedral at Chartres runs a gamut of subjects. It contains a plethora of standard religious fare such as the Passion of Christ and extensive examples of saints and martyrs, but there are also some secular subjects explored. Some nobles of France are depicted, as well as the Zodiac and several examples of occupational life in the Middle Ages. Despite the presence of these secular motifs, the primary purpose of the stained glass is to convey theological lessons and messages.

For instance, the redemptive power of Christianity is represented in the St. Mary of Egypt window, which is a prominent one for a lesser-known Saint. St. Mary was a prostitute who converted to Christianity, then embarked on a self-imposed penance that consisted of spending forty-seven years in the desert. She was discovered by a monk, who witnessed her levitating during prayer. The same monk found her dead later in the year, but lacked any tools to complete her dying request, a Christian burial. As depicted in the stained glass window, a lion appeared and dug the grave, and stayed to observe the service. The lion in this case is an obvious metaphorical representation of Christ. (University of Pennsylvania).

The message behind the story of St. Mary of Egypt is vividly effective. Despite the sin, or the level of degradation, an individual can be forgiven and restored through faith. Also reinforced is the idea that penance, and humbling oneself before God is an integral part of being forgiven. This is a keystone of Christian thought, but is particularly important to the Catholic faith. This can be demonstrated in the Bible through a verse in The Gospel of John. “If we confess our sins, he is faithful and just to forgive us our sins, and to cleanse us from all unrighteousness” (Holy Bible, John 1:9).

The window of St. Foi also presents an important message of Christianity. St. Foi was a martyr who died at the age of twelve after being painfully tortured for her beliefs (University of Pittsburgh). The message of the reward in heaven after pain and sacrifice on earth is an important one in Christianity, but perhaps at no time in history was it more resonant than during the Middle Ages. A laborious, pain-filled existence was the norm rather than the exception for the common man of the Middle Ages. A young girl that endured terrible pain for her belief in Christianity, and then went on to become a saint would have certainly evoked a powerful empathetic response among the parishioners of the Cathedral at Chartres.

The message of this window directly pertains to a verse from The Gospel of Matthew. “Blessed are those who are persecuted in the cause of uprightness: the kingdom of Heaven is theirs"

The window of Germain of Auxerre delivers a message on the spiritual benefits of the sacrifice of avarice, worldly ambition, and pride. Germain was a Roman who excelled professionally as a lawyer and was appointed the Duke of the Auxerre region. After getting into a dispute with the local clergy about his hunting activities in a local area that was considered spiritually important, Germain was forcibly converted by the Bishop of Auxerre. Germain then gave up his ambitious, wealthy life for a monastic existence and a powerful, newfound faith

This new life ultimately resulted in him becoming the Bishop of Auxerre. The message here is clear; through forsaking the trappings of worldly success, Germain was able to attain spiritual success that overshadowed his previous secular ambitions. This pertains directly to a verse from The Epistle of St. Paul to the Hebrews. “Took with joy the being stripped of your own goods, knowing that you have a better and a lasting substance. Do not, therefore, lose your confidence, which hath a great reward"

The message of faith as a road to worldly success can be seen in the window of St. Lubin. Although Lubin was born into a family of peasant farmers, he learned to read and eventually joined a monastery. He excelled in the monastic life, eventually becoming the Bishop of Chartres. The idea that hard work and devotion to Christianity could elevate one’s position in life would certainly have appealed to the common people of Chartres in the Middle Ages. Considering the near impossibility of class mobility at this time in history, the story of St. Lubin seems particularly impressive and inspirational (University of Pittsburgh).

Another interesting theological message can be demonstrated in the windows depicting Joseph and Abraham at the Cathedral at Chartres. Although these are both Old Testament figures, they are most likely displayed for their similarities to Christ, or for the fact that they are viewed as precursors to Jesus. This portrayal of Old Testament stories is continued on the exterior of the Cathedral, as there are many carvings depicting Old Testament scenes. This infusion of Old Testament stories among the Christian scenes harkens back to an earlier stage in the Church’s development

By the Middle Ages, Christianity was well established in Europe, but in the formative years of the religion, it was actually considered a heresy of Judaism. The melding of Old and New Testament beliefs would have lent some legitimacy to the fledgling religion. Perhaps the Old Testament scenes shown at the cathedral at Chartres are in fact the detritus of that earlier stage of Christianity.

The St. Thomas Beckett window depicts the former Archbishop of Canterbury who was beheaded by King Henry II for asserting the rights of the church against the state. Becket was subsequently canonized and his tomb became a popular pilgrimage site. The theological message that could be gleaned from this window is one of sacrifice, but upon further investigation, a more complex message is revealed (University of Pittsburgh).

The Roman Catholic Church in the Middle Ages was more than a simple institution of faith, it was a political, financial, and military power that rivaled or bested the Kingdoms of Europe. The message in the Saint Thomas Becket window is one of the primacy of the church over state. It reinforces the idea of the divine mandate of the Pope, and by extension, the Church as a whole should be separate and above all secular governments and institutions. This was not wishful thinking on the part of the church, this was the political reality of the Middle Ages.

While there is no question that the grandeur of the entirety of the Cathedral of Notre Dame at Chartres is divinely inspired, it served practical purposes for the Roman Catholic Church, as well. The monumental spires, the elaborate engravings, and the glorious stained glass all represents the physical manifestation of God. This serves to convey the message that God, and salvation, is available only through the Roman Catholic Church. The rituals of the Church, such as the absolution from sin granted by the priesthood, also promotes this idea.

While these cathedrals were primarily houses of worship, they also served as financial centers, collection points that forwarded money to the coffers of the Vatican. As they were often by far the most elaborate buildings in any given Medieval town, they also served as symbols of the power of the church, power that was often wielded against secular royalty to advance the political agenda of the Pope.

Though it was the first organized Christian Church, the Roman Catholic Church was also history’s first multi-national bureaucracy, with all the trappings and failings inherent to such an organization. The hierarchy of the church in the Middle Ages was often more concerned with advancing their financial and political power than with delivering the message of Christianity to the world. In some cases, such as the Borgia Popes, the leadership of the church reached epic levels of corruption.

It was the idea of the Roman Catholic Church as the sole road to salvation, and the financial and political concerns of the church hierarchy that would eventually provoke the Augustinian monk Martin Luther into writing The Ninety-Five Thesis. While Luther believed that all believers were essentially priests in Christianity, and that salvation could be had through direct communion with God, these ideas had no place in the Roman Catholic Church prior to the reformation. In fact, the Gothic cathedrals, in all their splendor, served to reinforce that the only route to salvation was through the church.

The Gothic cathedrals of the Middle Ages also represent a bygone time in the history of Christianity, a time when all Christians were united under one Church. In some ways, the Roman Catholic Church was at the height of its power at this time in history. Before the Reformation, there were no alternatives to the Church, and the hierarchy of the Roman Catholic Church had the ultimate and final decisions on all matters pertaining to the Christian faith. While reform was certainly needed, the argument could also be presented that the Reformation, in fact, weakened the solidarity of the Christian faith, by providing offshoots and variants of the Roman Catholic Church.

Regardless of the worldly purposes that these cathedrals were used for that deviated from their divine inspiration, they still stand as crowning achievements of the church in the Middle Ages. The artistic and theological achievement that is represented by the Gothic cathedrals of the Middle Ages is evident even today, as they are still studied and admired worldwide. Even in our modern times, these cathedrals remain marvels of Medieval ingenuity, as they still stunning in their architecture, design, and art.