Abbot Suger's Anagogical Windows at Saint-Denis: Gothic Meaning

The physical structure of a cathedral serves as a conduit, guiding the observer's mind towards contemplation of ultimate realities, a process Abbot Suger termed an "anagogical uplifting." This concept is intrinsically linked to the idea of words accompanying things, a connection made explicit through Suger's unique descriptions of the stained-glass windows at Saint-Denis.

The Anagogical Window and St. Paul

One notable example is the "anagogical window," featuring St. Paul. Suger describes how this window encourages a transition from the material to the immaterial. It depicts the Apostle Paul operating a mill, with prophets carrying sacks to it. The accompanying verses explain this imagery:

"By working the mill, thou Paul takest the flour out of the bran. Thou makest known the inmost meaning of the law of Moses. From so many grains is made the true bread without bran, our and the angels perpetual food."

This imagery foreshadows the "mystic mill" that appears in Chaucer's 14th-century Canterbury Tales, specifically in the Reeve's Tale, which centers on a miller.

In the Saint-Denis window, two figures flank Paul at the mill. To his left, representing the "sinister side," stands a woman symbolizing the Synagogue or the Old Testament. To his right, a woman embodies the Church (Ecclesia). This arrangement illustrates Paul's role in creating the "true bread of the new law" by shedding the "bran of the old."

Allegory and the Bridging of Testaments

Suger's interpretation of these visual elements is deeply allegorical, making the invisible visible through words. This aligns with the Latin author Horace's phrase, "Ut pictura poesis" (as is painting, so is poetry). This process bridges the Old and New Testaments; by understanding the Old Testament allegorically or anagogically, the truth of the New Testament becomes clear. This is often described as a "lifting of the veil," akin to the ascension towards light seen in Pseudo-Dionysius, and here, a "shedding of bran."

The same window also depicts the moment "where the veil is taken off the face of Moses." Suger explains: "What Moses veils, the doctrine of Christ unveils. They who despoil Moses bear the..." (the sentence is incomplete in the transcript).

Moses in the Ark and the Burning Bush

Another window portrays Pharaoh's daughter discovering Moses in the ark. Suger interprets this as: "Moses in the ark is that manchild whom the maiden royal, the church, fosters with pious mind." This stained-glass panel is notable for its detailed painting, showing the child Moses in the ark with oversized hands and head at the feet of his sister Miriam (the figure in green on the left) and Pharaoh's daughter beside her.

In the same window, where the Lord appears to Moses in the burning bush, Suger writes: "Just as this bush is seen to burn, yet is not burned, so he who is full of this fire divine burns with it, yet is not burned."

Further within this window, Pharaoh is submerged in the sea with his horsemen. Suger draws a parallel: "What baptism does to the good, that does to the soldiery of Pharaoh. A like form but an unlike cause."

Moses Receiving the Law

In the same window, Suger describes Moses receiving the law on the mount. He notes that after the law is given, "the grace of Christ invigorates it. Grace giveth life. The letter killeth."

The image of Moses receiving the Old Law at Mount Sinai is surrounded by significant scenes from the Exodus story:

• Center Rondo: As Moses lifts his hands to receive the tablets, a hint of the golden calf is visible in the lower quadrant.
• Lower Right Half-Rondo: The Hebrews are depicted worshipping the golden calf.
• Left: Moses smashes the tablets in anger.
• Upper Right: The hand of God slays those who continue to worship the golden calf.
• Upper Left: Moses is shown on Mount Nebo, the site of his death, with God emerging from a wavy cloud at the very top of the half-rondo, pointing the way to the Promised Land.

These detailed descriptions from Abbot Suger, a prominent 12th-century churchman and the architect behind the rebuilt abbey church of Saint-Denis, offer a profound insight into how the Gothic Cathedral functioned as a spiritual teaching tool for its visitors.