French Gothic stained glass
The theme was “French Gothic stained glass.”
The object of our study – the stained glass Windows of French Gothic cathedrals.
The subject is technological and artistic peculiarities of creating stained glass during the Middle ages
The ultimate goal of this work is to determine the characteristics and the evolution of French stained glass from the beginnings to the late Gothic.
To achieve it, we must solve the following tasks:
– to analyze the technological features of manufacture of stained glass.
– to identify the main artistic techniques of French stained glass art on the example of the most famous monuments
– to trace the evolution of stained glass in medieval France
The structure of the work corresponds to the task and consists of three chapters. In the first Chapter – “the Role of stained glass in the Gothic concept Cathedral” will examine the significance of the stained glass in the architecture of the Cathedral and spiritual value – in the context of the impact on believers. In the second Chapter “the Technology of creating medieval stained glass” we will discuss the process of creating colored glass and the technology of manufacturing the stained glass. In the third Chapter, “Major monuments of Gothic stained glass in France”.
Thanks to new technologies, the art of stained glass is constantly growing. However, time does not stand still, on the other hand, even well-preserved historical monuments under the influence of the environment are destroyed. For timely reconstruction it is necessary to study medieval stained glass that makes our chosen theme can be considered relevant.
We used the works of foreign researchers: the theology of Fulcanelli, a detailed description of technology of creating stained glass V. H Ragin, monograph E. Martin Dail, essays B. Ferenczi, and domestic: And Uvarovoy E., A. Yu, Lower.
France has a leading role in the development of stained glass in Europe. During the period of XII – XV centuries French Gothic stained glass has undergone several changes, ranging from manufacturing techniques to the selection of story and picture.
Windows be the equivalent of handwritten texts describing the way of life Christian Church, like the handwritten texts of the time they shone. Decorated with precious stones and was equal to the jewellery. First, there were small Windows and stained glass collected from small pieces of colored glass (as in the Cathedral of Saint-Denis) e Volusia stained glass went in the direction of increasing the area of “glass paintings” at the expense of load-bearing structures. In the end smooth wall surfaces remained so scarce that architecture, in essence, boiled down to the frame for Windows. In the late Gothic cathedrals of the master began to refer to spatial compositions to more secular subjects. Formerly located in modest simple architectural framing these figures to his full height now crowned a great height by an intricate canopy of colored glass.
Unfortunately, we got not much authentic stained glass of the old time largely because of the attitude of the person. For example, we know that the spiritual authorities, representing the administration of the Notre Dame Cathedral in 1741 ordered to break out of precious antique stained glass Windows and replace them with ordinary sheet glass, on the grounds that the Church became brighter. For the same reason around the same time was deliberately destroyed some of the stained glass of Reims Cathedral and monastery Saint-Remy. These examples illustrate the need to study the technology of making stained glass for timely reconstruction and maintain them in good condition.