The statues at the western portal of Notre-Dame de Chartres are unlike anything found in other Gothic cathedrals. Towering, elongated, and almost otherworldly, they seem to stretch unnaturally toward the sky, as though reaching for something beyond our world. These figures—depicting kings, prophets, and patriarchs—are not mere decoration. They hold secrets that reflect the spiritual and artistic ambitions of their time. But why do they look so different from other Gothic statues? What were their creators trying to communicate? And how have our interpretations of these monumental works evolved over the centuries?
Verticality: a Gateway to Heaven
Standing before the western portal, you can’t help but be struck by the verticality of the statues. Crafted in the mid-12th century, these figures are far from the realistic human forms seen in later Gothic art. Their long, thin bodies blend seamlessly with the tall columns of the portal, as though they are part of the cathedral itself. The effect is intentional—these statues were meant to elevate the viewer’s gaze, drawing eyes upwards in a visual journey toward the heavens.
At Chartres, the figures are highly stylized and abstract. Unlike the more dynamic and expressive sculptures that would appear later at cathedrals like Reims and Amiens, these statues are quiet, distant, and serene. They aren’t portraits of real people; rather, they are symbols of a divine order, their tranquil expressions and still postures reflecting a spiritual world far removed from earthly concerns.
A "Stone Bible" for the Faithful
In medieval times, when many worshippers couldn’t read, these sculptures served a greater purpose than just architectural beauty. They functioned as a “stone Bible”, visually teaching the faithful the stories of the Old and New Testaments. Each figure was designed to be understood by all, even the illiterate. Painted in vibrant colors—long since faded—these statues once dazzled visitors with scenes from sacred scripture.
The statues at the western portal are arranged in a visual hierarchy. At the top, in the tympanum, Christ reigns in glory, symbolizing the New Covenant. Below him, the kings and prophets of the Old Testament stand as witnesses, bridging the gap between the old and new divine orders. Worshippers would have looked up, quite literally, to the saints who guided them on their spiritual journey.
The vertical composition of the statues was meant to inspire awe. Their exaggerated height and serene expressions reflected a sense of otherworldliness, drawing the viewer away from the material world and towards the divine. During medieval processions, the clergy and faithful passed beneath these figures, with the saints watching over them, reinforcing the idea that heaven was just within reach.
How Time Changed the View
Our understanding of these statues has shifted dramatically over time. In the Middle Ages, they were central to religious experience. But during the Renaissance and Enlightenment, Gothic art fell out of favor, often criticized as “barbaric” compared to the classical realism of the Renaissance. The elongated, idealized forms of the statues at Chartres were dismissed as primitive and unsophisticated.
It wasn’t until the 19th-century Gothic Revival that the true genius of these sculptures was rediscovered. Art historians like Georges Duby celebrated their verticality and stylized form, recognizing them as reflections of deeper spiritual symbolism. Rather than depicting realistic human figures, these statues represented a soul’s journey toward God, transcending the earthly realm. The idea of vertical ascent became a metaphor for spiritual elevation—each figure pulling the viewer’s mind and heart upward.
The Influence of Saint-Denis and Laon
The Notre-Dame de Chartres didn’t arise in isolation. Its design was influenced by earlier Gothic experiments, particularly at Saint-Denis Cathedral, near Paris. Under the guidance of Abbot Suger, the Gothic style was born at Saint-Denis, with an emphasis on light, height, and architectural harmony. Here, for the first time, sculpted column figures—Old Testament kings, queens, and prophets—appeared on a cathedral façade, a design element that would heavily inspire later Gothic churches.
Although much of the original sculptural decoration at Saint-Denis was sadly lost during the French Revolution, it seems that the twenty column figures were originally positioned on the jambs or vertical supports of the façade portals. A number of the heads can still be seen in the Musée de Cluny in Paris.
The introduction of a royal portal, along with a likely statue of Christ on the ‘trumeau’ (the central pillar of a double-door portal), had a profound impact on subsequent portal designs. Around the beginning of the 13th century, sculpture in Northern France started to show a clear influence from classical styles. The decoration of the west portal of the Laon Cathedral seems to mark the beginning of this development.
Just fifteen years after the west front of Saint-Denis was completed, work began on the Cathedral of Laon. Laon’s west portal, built in 1155, also included column statues that would go on to inspire cathedrals like Chartres, Reims, and Amiens. Its relief sculptures were ahead of their time, showcasing expressive faces, more realistic proportions, and dynamic poses, reflecting the innovative ideas that shaped the cathedral’s design.
Chartres Remains Unique
Despite its influences, Chartres Cathedral remains utterly unique in the world of Gothic architecture. The statues at its western portal, with their technical precision and profound spiritual symbolism, have endured the test of time. Though our understanding of these figures has shifted over the centuries, their ability to captivate and inspire remains undiminished.
Chartres continues to stand as a testament to the artistry and spiritual ambition of medieval Europe. Its statues, simultaneously otherworldly and deeply human, invite us to look up—toward the heavens, and toward the mysteries of faith that lie beyond the material world.
About the cathedral notre-dame de chartres
- Building period: 1220-1250
- Length: 130 m
- Width: 46 m
- Height (vault): 37 m
Notre-Dame de Chartres, often referred to simply as Chartres Cathedral, is one of the most iconic and well-preserved examples of High Gothic architecture in Europe. Known for its stunning stained glass windows, towering spires, and intricate sculptural decoration, Chartres has stood for centuries as a masterpiece of medieval craftsmanship and religious significance.
Unique Facts
- Architectural Unity: Despite the numerous fires that plagued earlier versions of the cathedral, the current Gothic structure was largely completed within a single generation, giving it an extraordinary unity of design.
- Pilgrimage Route: Chartres was a major stop on the medieval pilgrimage route to Santiago de Compostela.
- The Blue Virgin: The cobalt blue used in the stained glass windows, often called “Chartres blue,” became famous for its depth and intensity, unmatched by any other cathedral.
1. Stained Glass Windows
Chartres is world-renowned for its original stained glass, much of which dates back to the early 13th century. With over 170 stained glass windows, including the famous “Blue Virgin” window and the detailed rose windows, the cathedral contains one of the largest collections of medieval stained glass still intact. The windows are celebrated not only for their vibrant colors but also for their detailed biblical scenes, serving as a visual “Bible for the illiterate.”
2. The West (Royal) Portal
The Royal Portal, on the western façade, features elongated, almost ethereal statues of Old Testament kings, prophets, and patriarchs. These sculptures date from the mid-12th century and are among the earliest examples of Gothic statuary, emphasizing verticality and spiritual transcendence. They survived the fire of 1194, which destroyed much of the earlier Romanesque cathedral, and were integrated into the newer Gothic structure.
3. The Spires
Chartres Cathedral is defined by its two asymmetrical spires—one a 12th-century Romanesque structure, standing at 105 meters, and the other a more elaborate Gothic spire built in the 16th century, reaching 113 meters. This striking contrast between the two towers is one of Chartres’ most recognizable features.
4. Labyrinth
The labyrinth on the cathedral’s floor is another distinctive feature. This circular pathway, measuring about 12.9 meters in diameter, was designed in the early 13th century and was used by pilgrims as a symbolic journey to Jerusalem. Today, it remains a popular attraction for those seeking spiritual reflection.
5. Sculptural Decoration
The cathedral’s sculptural program is extensive, with more than 4,000 figures adorning its portals, jambs, and columns. In addition to the Royal Portal, the north and south transept portals—built in the mid-13th century—feature even more intricate depictions of Christ, the apostles, angels, and biblical narratives. These sculptures, in their high-relief and dynamic forms, mark a significant development in Gothic art.
6. Crypt and Relics
Chartres is home to one of the largest crypts in France, which contains a relic of the Virgin Mary’s veil (the Sancta Camisia). This relic has been a focal point for pilgrims since the 9th century, and the cathedral itself was rebuilt several times to accommodate the influx of pilgrims.
