Chartres Cathedral Facade: Iconography, Liberal Arts & Biblical Themes

The west facade of Chartres Cathedral, particularly its Royal Portal dating from the mid-12th century, showcases a rich iconographic program that survived the fire of 1194. This portal's entryways depict a profound Christological drama, integrating theological narratives with secular learning and historical allusions.

The Royal Portal: Iconography of the Incarnation

The right-hand lintels and tympanum of the Royal Portal focus on the Incarnation of Christ through several scenes:

• Lower Lintel (left to right):
  • The Annunciation, with the Angel Gabriel appearing to Mary.
  • The Visitation between Mary and Elizabeth.
  • The Nativity.
  • The Annunciation to the Shepherds by an angel.
• Upper Lintel: The Presentation of Christ in the Temple.
• Tympanum: Mary and Child are depicted among censing angels, symbolizing three levels of the Virgin and Child moving from earth to heaven.

Secular Learning and the Liberal Arts

Chartres was not only a theological center but also a hub for secular learning. The archivolts around the tympanum emphasize the seven liberal arts, a concept inherited from late antiquity, alongside zodiac signs, similar to those found in Saint-Denis and Notre Dame in Paris.

The seven branches of secular learning are represented with their most renowned practitioners:

• Language Arts:
  • Grammar: Depicted teaching two boys, one semi-nude and the other in a monk's cowl, symbolizing a contrast in moral values. The nude boy is shown pulling his classmate's hair.
  • Logic (Dialectics): An allegorical figure holding a basilisk or stinging serpent in one hand and the torch of truth in the other. Aristotle is associated with this art.
  • Rhetoric: Represented by Lady Rhetoric, possibly accompanied by Cicero, the famous classical orator.
• Quantitative Arts:
  • Arithmetic: Associated with Boethius.
  • Geometry: Associated with Euclid.
  • Music: Depicted as a woman tapping a bell and holding an early violin (viol) and an Irish harp.
  • Astronomy: A figure looking and pointing upwards, associated with Ptolemy.

The figures in the archivolts often represent historical authorities. For grammar, possible figures include Priscian or Donatus, grammarians from the first and fourth centuries respectively. The presence of writing instruments like styluses and wax tablets further highlights the scholarly context.

The Northern Portal: Ascension or Creation?

The northern portal of the west facade presents a different narrative:

• Tympanum: Depicts the Ascension of Christ, received by a cloud marking the boundary between heaven and earth.
• Upper Lintel: Four angels predict Christ's return to the apostles.
• Lower Lintel: While the Ascension is the primary interpretation, some recent suggestions propose that the tympanum and lintels of this portal depict the Creation of the World.

The Ascension interpretation is reinforced by accounts like Jacopo da Varagine's "Golden Legend," which describes Christ's "great leap" from earth to heaven on the 40th day after his resurrection. Saint Ambrose's writings also describe Christ's various "leaps" throughout his life, from his descent into the Virgin Mary to his ascent into heaven.

Framing the Ascension scene are signs of the zodiac (Cancer, Scorpio, Leo, Sagittarius) and the occupations of the months, such as winemaking, pig killing, and winter feasting for December. This contrasts with the right tympanum's focus on liberal arts, as the left portal emphasizes everyday tasks and manual labor.

The Central Portal: Christ's Second Coming

The central portal of Chartres' west facade focuses on Christ's Second Coming:

• Lintel: Displays the apostles, possibly joined by Old Testament figures Enoch and Elijah.
• Tympanum: Shows Christ's Second Coming at the end of days, surrounded by the figures of the Evangelists, known as the Tetramorph.

The Tetramorph consists of:

• John: The eagle.
• Mark: The lion.
• Luke: The ox.
• Matthew: The man.

This symbolism originates from the Old Testament book of Ezekiel (Ezekiel 1:10), where the prophet describes a vision of four living creatures with faces of a man, a lion, an ox, and an eagle. This vision was reappropriated in the Apocalypse of St. John (Revelation 4:7), becoming a common motif in medieval sculpture, stained glass, and manuscript illumination.

Capital Friezes and Jamb Statues

The west facade is unified by astonishingly beautiful capital friezes that connect the three portals with intricate sculpture, adding a historical dimension to the Incarnation narrative. These friezes depict scenes from Christ's early life leading to the Ascension tympanum and scenes from his public ministry leading to the Incarnation.

The facade is also renowned for its jamb statues, similar to those found at Notre Dame and first appearing at Saint-Denis. While precise identification of each figure is challenging, art historians generally categorize them as Old Testament prophets, priests, kings, heroes, and heroines, including women.

It has been suggested that these sculptures aimed to link the kings of France to Old Testament history. This theory arises from the rivalry between the Plantagenet dynasty of England (and Anglo-Normandy) and the Angevine dynasty of France after the Norman Conquest of England in 1066. The Plantagenets traced their lineage to Aeneas and the founding of Britain by his descendant Brutus, positioning Britain as the "new Troy." The Angevines, however, traced their origins back to the Old Testament, which, in an age valuing longevity and ancient lineage, provided a superior claim to rule. For instance, at his coronation in 1108, Louis VI was praised for embodying the faith of Abraham, the clemency of Moses, the force of Joshua, the humility of David, and the wisdom of Solomon.