Brianna Morgan Research Paper FYSM 182 Professor Cadogan

Sainte-Chapelle Structural and Ideological Symbolism Through the Ages

The Sainte-Chapelle Cathedral was originally constructed between the years 1239 to

1248, during the Rayonnant period of Gothic architecture. It is located in the center of Paris,

France, on the Île de la Cité. Since the cathedral is characteristic of Gothic architecture, it

emphasizes its extensive stained glass windowing segmented by bar tracery. It was

commissioned by Louis IX to be a monumental reliquary, where significant Christian relics

were to be housed.1 He was prompted to do so when he acquired thirty something relics, a few

being very significant Passion relics, such as Christ’s Crown of Thorns and a piece of the True

Cross.2

The Sainte-Chapelle is one of the most essential monuments for the expression of French

Gothic architecture, ranking alongside the Notre-Dame Cathedral and the Chartres Cathedral. It

is a two-story chapel with varying story height, but each story has a specific function.

Interestingly, they have identical surface area although they have differing story height. The

upper level, which was the same level as the royal apartments where the king and his important

guests stayed, housed the relics. The lower level was the palace church, which was accessible to

the king’s soldiers, servants, and guests residing in the cathedral.3

                                                                                                               1 Cohen, Meredith. “Restoration as Re-Creation at the Sainte-Chapelle.” Pg 135. 2 Marquardt, Janet, and Alyce A. Jordan. “Nineteenth-Century Restoration Politics: Recrafting Monarchy in the Stained Glass Windows of the Sainte-Chapelle in Paris.” pg 109 3 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design.  

Louis IX was known as a patron of the arts. He used the works he commissioned to

convey his political, religious, and social motivation and agenda. The decorations were lavish in

the original Sainte-Chapelle, conveying how Louis IX spared no expense when it came to

expressing religious devotion. The Sainte-Chapelle is full of symbolism, both in iconography

and structure. There are also many connections between Louis IX and King Solomon

throughout the cathedral. He wanted to create a divine space with great religious significance, as

well as the Christian and Capetian architectural equivalent to the Temple of Solomon, in

Jerusalem.4

Structurally symbolic, the architecture, consisting of the tribune screen and baldachin in

the upper chapel, are thought to be representative of the throne of Solomon. They are therefore

fundamental to the overall design of the upper chapel.5 Louis IX utilizes this allusion, or

juxtaposition, between him and Solomon in order to express his royal ideology. He aims to

elevate his status as a ruler by portraying himself as another powerful and famous leader. The

interior architecture of the cathedral is aesthetically very similar to the classically constructed

biblical depiction, as well as the medieval imagery of Solomon’s throne. As mentioned in

medieval text, the essential details of Solomon’s throne, such as the six steps and at least two

lions present on the arrangement, are included inside the Sainte-Chapelle. Solomon’s throne

was utilized as a means of aggrandizing secular rulers, which is why Louis IX included this

                                                                                                               4 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 308. 5 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 309.  

symbolism in his design for the cathedral.6 His political motivations are demonstrated by the

incorporation of this allusion.

The tribune and baldachin of the Sainte-Chapelle are full of Solomon iconography. They

are representative of Solomon’s porch of justice. However, the architecture is only the same in

regard to the structure of the porch façade. Louis IX’s political motivations are demonstrated by

the incorporation of the allusion to King Solomon, which is meant to place him on a pedestal.

Architectural aspects of the porch of justice have a royal facet to them, “serving the ideology of

Capetian kingship under Louis IX”. Associating French kings and biblical ancestors was

common practice and tradition even before the time of the first Capetians.7 It was a cannon for

strong kingship. Louis IX and Solomon are even physically juxtaposed through adjacent stained

glass rose windows on the south side of the Sainte-Chapelle.

Solomon was chosen to be Louis IX’s “biblical ancestor of choice… not only to

highlight Louis’ wisdom and justice, but also to draw clear parallels between the Old Testament

builder of the house of God and his contemporary equivalent.”8 Throughout time, Solomon has

been equated with Christ. Louis IX utilized this allusion, comparing himself to Solomon, as a

way to convey that he also should be equated to Christ, thus furthering his political agenda and

expressing his power and importance. Thanks to Louis IX, “by equating the Ste.-Chapelle with

the Temple and the Passion relics with the Ark of the Covenant, the French court had

                                                                                                               6 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 309. 7 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 317.  8 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 317.

established Paris as the new Holy Land”, and enhanced their power and prestige.9 This supports

the declaration that Louis IX used the Sainte-Chapelle to further his political, religious, and

social motivations.

Relics are pieces of symbolic history of the Christian religion. It is believed that Christ

wore the Crown of Thorns, depicted in Figure 1, when he was crucified. The crown signifies

that he truly was believed to be a king by his followers, even though it was placed on his head in

order to mock and degrade him. It was symbolic of Christ’s divine rule.10 The True Cross was

what Christ was crucified on. It symbolizes his being bound, but was the catalyst for the cross

as such a vital symbol of the Christian religion. These two relics were what prompted Louis IX

to build the Sainte-Chapelle when they came into his possession.

Relics are used as attractions for pilgrimage to a certain cathedral. Followers of the

religion desire to see them and be in the presence of such a meaningful item for their religion.

Cathedrals in possession of significant relics have a certain amount of power and prestige. It

helps to elevate them in standing. Relics are also used to demonstrate just how pious the patron

is, and are used as a status symbol for the patron himself.11 Louis IX places a large emphasis on

relics seeing as he commissioned the Sainte-Chapelle mainly for the purposely of displaying the

                                                                                                               9 Weiss, Daniel H. “Architectural Symbolism and the Decoration of the Ste.-Chapelle.” Pg 318. 10 Cohen, Meredith. “An Indulgence for the Visitor. The Public at the Sainte-Chapelle of Paris.” Pg 845. 11 Marquardt, Janet, and Alyce A. Jordan. “Nineteenth-Century Restoration Politics: Recrafting Monarchy in the Stained Glass Windows of the Sainte-Chapelle in Paris.” pg 109.  

relics he had recently acquired. He created a new cathedral, a massive undertaking, primarily in

order to give the Crown of Thorns and the True Cross a place to reside.

Louis IX utilized the relics in his possession in order to display the ideals of sacred

kingship. The Sainte-Chapelle hosted “elaborate ceremonies and propagandistic ritual [which]

continually encoded the building with notions of royal sovereignty and reinforced royal-

ecclesiastical collusion.”12 Models of queenship are expressed through images of Judith and

Esther, which are prevalent in the windows of the Sainte-Chapelle. Both of the Old Testament

heroines are part of narratives. The Judith window consists exclusively of circular medallions,

one of the most simplistic designs, similar to Figure 2. On the other hand, the Ester window is

one of the most sophisticated in the cathedral.

Each biblical figure is tasked with a different opponent and takes a different style of

approach. Judith, a mature, upper-class widow, takes a direct approach in her warlike setting.

She creates her own plan, one that goes against the men’s plan. She infiltrates her enemy’s camp

in order to decapitate Holofernes and stop his murderous rampage as shown in Figure 3.13

Esther on the other hand, is not as willing to accept her necessary role in a situation that

is just as challenging. She eventually accepts the task of getting her husband, King Ahasuerus,

to retract his chancellor’s edict to annihilate the Jews. She is successful through respectful,

                                                                                                               12 Cohen, Meredith. “Restoration as Re-Creation at the Sainte-Chapelle.” Pg 153. 13 Jordan, Alyce A., “Material Girls: Judith , Esther, Narrative Modes and Models of Queenship in the Windows of the Ste.-Chapelle in Paris.” Pg 340.  

diplomatic acts and a roundabout method. She eventually reveals to Ahasuerus that she is a Jew,

and would be executed if the edict were to be carried out.14

The juxtaposition of these two heroines show how queenship can be expressed, and how

various methods and approaches are necessary when maneuvering through politics. For

centuries Queens of France have relied on tactics such as these when dealing with political

matters. Louis IX’s mother, Blanche of Castile, had to act as regent twice during her son’s

reign. She had to be smart tactically concerning the French military, and was even responsible

for the Treaty of Paris, in which the Count of Toulouse submitted to French terms. She

conducted herself well diplomatically, and it is noted that her actions regarding wars and marital

alliances helped to strengthen and unify French territories.15 The actions and conduct of past

queens help to set precedent and serve as the model for future queens.

Other than his political agenda, Louis IX wanted to construct an architectural monument

that encompassed the architectural style of the time. He succeeded and the Sainte-Chapelle was

instrumental in the development of French Court Style architecture, leading to a widespread

influence beyond the city of Paris.16 These architectural features included deep buttresses

surmounted by pinnacles, pointed arches, crocketed spires, bar tracery segmenting the windows,

and abundant, bright decoration. Also, the extensive stained glass windowing was vital for an

                                                                                                               14 Jordan, Alyce A., “Material Girls: Judith , Esther, Narrative Modes and Models of Queenship in the Windows of the Ste.-Chapelle in Paris.” Pg 341. 15 Jeandet, Yette. "Blanche Of Castile | Wife of Louis VIII." 16 Caviness, Madeline H. “Three Medallions of Stained Glass from the Sainte-Chapelle of Paris.” Pg 247.

increase in the amount of light let into the building. The Gothic style buildings are praised for

their size, decoration, transparency, and color.17

Sainte-Chapelle, also known as the chapel of the king, contained “the most select colors

of the pictures, the precious gliding of the images, the beautiful transparency of the gleaming

windows on all sides, the most beautiful cloths of the altars”.18 It was also embellished with

stunning gems.19 The rich design and materials are used to establish the Sainte-Chapelle as a

royal and important monument in France. Its structure, design, and decoration convey the

wealth of Louis IX and therefore of the French monarchy. This furthers Louis IX’s political,

social, and religious campaign to assert his importance and power.

Although stained glass windowing is a large part of the decoration of the Sainte-

Chapelle, there are also various Gothic sculptures throughout the building. These sculptures

incorporate a range of materials and colors. In the upper chapel, there are sculptures of the

twelve Apostles. These stone figures are life-size, and are located on the shafts that separate the

great windows. Unfortunately, only six of the twelve are original.20

The Sainte-Chapelle chapel is a symbol of wealth and prominence for the royal family

and the state. The architects of the Sainte-Chapelle were able to unify the space of the upper

                                                                                                               17 Inglis, Erik. “Gothic Architecture and a Scholastic: Jean De Jandun’s “Tractatus De Laudibus Parisius.” Pg 63. 18 Inglis, Erik. “Gothic Architecture and a Scholastic: Jean De Jandun’s “Tractatus De Laudibus Parisius.” Pg 67. 19 Inglis, Erik. “Gothic Architecture and a Scholastic: Jean De Jandun’s “Tractatus De Laudibus Parisius.” Pg 66. 20 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design.  

chapel, which was an accomplishment that the succeeding phase of the mature Court Style

constantly tried to achieve.21 The upper chapel contained fifteen windows, which controlled the

elaborate interior of the cathedral. The Sainte-Chapelle narrative windows correlate and form a

complex, carefully constructed, unified narration. They depict the stories contained in the Bible,

from the Creation to the Redemption.22 The extensive stained glass windowing is one of the

major focal points of the Sainte-Chapelle.

There is an emphasis on heavenly natural light being let into the chapel. The Sainte-

Chapelle church appears to be exceptionally constructed, as well as weightless due to the

gorgeous expanse of stained glass windowing.23 The windows stretch from the base to the top

of the chapel, and are very grand. The iconography of the windows is also a key point. The

narrative windows feature biblical stories and a multitude of scenes and event.

Creation of the stained glass windows required many assistants who to this day have

remained anonymous. Specialists have analyzed the fifteen stained glass windows and came to

the conclusion that they were executed by the members of three different workshops. Each of

which contained numerous artists.24 The artisans were under royal commission, so the glass

used was of excellent quality and the decoration was exquisite. The creation of stained glass

                                                                                                               21 Caviness, Madeline H. “Three Medallions of Stained Glass from the Sainte-Chapelle of Paris.” Pg 247. 22 Caviness, Madeline H. “Three Medallions of Stained Glass from the Sainte-Chapelle of Paris.” Pg 247. 23 Caviness, Madeline H. “Three Medallions of Stained Glass from the Sainte-Chapelle of Paris.” Pg 245. 24 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design.

windows it time consuming and tedious, so it makes sense that multiple workshops would need

to be employed to complete the extensive amount required for Sainte-Chapelle.25

The narrative windows show a comprehensive account of the life of Christ and other

scriptural records. The Passion window details the Passion of Christ, and “is arranged in a

simple vertical system of round medallions, exactly like the framework of the window of Judith

in the Ste.-Chapelle.”26 The windows are used to convey messages and highlight certain ideals

the church wants to accentuate. The stained glass windows and the general form of the Sainte-

Chapelle contributed to its function as a monument of devotion.27 This monument was altered

over the years, but its core remained the same.

Restoration to the chapel has occurred throughout time because throughout the seven

hundred years since the Sainte-Chapelle was completed, it has suffered partial destruction by

fire, flood, and revolution.28 The architect, Felix Duban, who was in charge of the

reconstruction tried to replicate as much as he could of the original. He did not want to change

much and alter the integrity of the building. This meant replacing the missing stained glass

windows with ones of extremely similar craftsmanship and design.29 Surprisingly, nearly two-

thirds of the stained glass windows in the Sainte-Chapelle are original. Many contemporaries

                                                                                                               25 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design. 26 Raguin, Virginia Chieffo. “The Isiah Master of the Sainte-Chapelle in Burgundy.” Pg 486.  27 Inglis, Erik. “Gothic Architecture and a Scholastic: Jean De Jandun’s “Tractatus De Laudibus Parisius.” Pg 72. 28 Caviness, Madeline H. “Three Medallions of Stained Glass from the Sainte-Chapelle of Paris.” Pg 251. 29 Jordan, Alyce A. “Rationalizing the Narrative: Theory and Practice in the Nineteenth-Century Restoration of the Windows of the Sainte-Chapelle.” Pg 192.

have stated that Duban did an excellent job directing the restoration of the cathedral. He was

faithful to the original church when compared to original drawings and portrayals of the Sainte-

Chapelle. However, there is still evidence of reconstruction on the Sainte-Chapelle, showing the

characteristics and influence of the style at the time of restoration during the nineteenth

century.30

The French Revolution was a tumultuous time in France during the late eighteenth

century. It marked the end of the oppressive feudal regime, which had already been

deteriorating and disappearing throughout Europe. It was a time of social unrest, which included

a series of what turned to be violent peasant revolts against the bourgeoisie, the elite of wealthy

commoners.31 The French Revolution was the result of political, social, and economic

oppression. The revolts lead to widespread destruction of property and other criminal action,

corrupting and destroying many properties, including the Sainte-Chapelle.

During the French Revolution the steeple of the cathedral and the baldachin were

removed from the building. Along with this, relics were removed and distributed throughout

Europe. Even some of the reliquaries inside of the Sainte-Chapelle were melted down to be sold

or be reused for their material. The church was becoming a shell of its former self. This is why

at one time many viewed the monument as a symbol of oppression and dark times for the people

and state of France.32

                                                                                                               30 Jordan, Alyce A. “Rationalizing the Narrative: Theory and Practice in the Nineteenth-Century Restoration of the Windows of the Sainte-Chapelle.” Pg 194.  31 "French Revolution | Causes, Facts, & Summary." 32 Cohen, Meredith. “Restoration as Re-Creation at the Sainte-Chapelle.” Pg 138

The steeple on the Sainte-Chapelle that is seen today is the fifth steeple on the cathedral

since the thirteenth century. It is 108 feet high. The original steeple design is unknown, for it

was removed and records or illustrations of it are missing or destroyed. The second steeple was

built in 1383, and is illustrated in the Tres Riches Heures de Duc de Berry (1413), by the

Limbourg Brothers. The third steeple replaced its predecessor around 1460, and is depicted in

many sketches and prints. However, it was burnt down in 1630. The fourth steeple was

destroyed in 1793, but there are also detailed depictions of its design. The current steeple is built

in the fifteenth century style. It is decorative and a true work of art technically, made out of

cedar wood.33

Through reconstruction and as the years go by, the function of the Sainte-Chapelle

cathedral has evolved as well. It has transformed from a private chapel to a pilgrimage church, a

place of public worship. Over the course of time, the cathedral has transformed from a secular

monument to a sign of oppression. Now it epitomizes the achievements of French society and

culture, while certifying the glorious history of France.34 Its meaning to the public has changed

over time, but it remains as a historic piece of Gothic architecture.

The Sainte-Chapelle chapel was primarily built to house the relics of Christ’s passion,

which Louis IX brought to Paris in 1239 and 1241. It was consecrated in 1248 and remains an

important building for Gothic architecture.35 Louis IX’s commission of the cathedral

                                                                                                               33 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design.  34 Cohen, Meredith. “Restoration as Re-Creation at the Sainte-Chapelle.” Pg 138. 35 Inglis, Erik. “Gothic Architecture and a Scholastic: Jean De Jandun’s “Tractatus De Laudibus Parisius.” Pg 65.

demonstrated his religious, political, and social motivations during his reign. It is a statement of

devotional piety and secular prestige for the monarchy of France.36 Although the building has

faced a lot, such as the French Revolution and its restoration afterward, it remains a symbol for

the state of France.

                                                                                                               36 "Sainte-Chapelle, Paris." Visual-Arts-Cork. Encyclopedia of Art and Design.  

Figure  1  THE  FACE  OF  CHRIST  by  Master  BM,  ca.  1480-­‐1500    

Figure  2  Sainte-­‐Chapelle:  interior,  detail  of  roundels  from  stained  glass  lancet  window  on  south  side,  1246-­‐1248    

Figure  3  Judith  passes  Holofernes'  head  to  her  maid,  mid  13th  century