Gothic Style, Glory of God: Examining religious themes in early Christian art
Studying religious art can help us enhance our faith. We see the potential for this greater understanding in the Cathedral of Chartres, the works of Bernini and the churches of Ravenna. By describing these churches and other works, it is possible to see how each creates a theological universe which connects us with God.
Chartres: Mary's Foothold on Earth
The Chartres cathedral is one of the masterpieces of Gothic architecture. While it may be a dark church inside, Chartres is spiritually enlightening. The cathedral is designed to help pilgrims gain access to the Virgin Mary, who acts as an intercessor to Jesus. After a fire destroyed the original church, this grander building was constructed to house an ancient relic, which many claimed was the veil Mary wore during the Annunciation and/or birth of Jesus. Devotion to Mary during this time period was rare, but we can see throughout Chartres how Mary's story plays a key role.
Let's first note the North Rose window, which is dedicated to Mary herself. Rose windows by design are beautiful works of art which dominate the side of the cathedral they are placed. To have the Virgin in such a prominent position only elevates her importance because of all the stained glass windows in Chartres, the rose windows are the most glorious. Churchgoers would have gazed at the intricate window and seen the Virgin holding the young Jesus in her lap, just as modern visitors do today. In our case, Mary's prominence in the rose window was even more significant, as the south rose was being cleaned. With the South Rose covered, this meant that the transept was primarily illuminated by the North Rose - Mary's window. Here, Mary's light allows people to guide their way through the darkness of the cathedral and worship. In the small outer circles we see twelve kings of Judah, as a sign that Mary is descended from royalty and should be treated as a queen herself.
Similar works also allow us to channel our prayers to Mary. For instance, one of the side chapels on the north side features a 16th century statue called "Our Lady of the Pillar." Here, Mary and Jesus, adorned with rich gold/white garments bless pilgrims. The richness of their clothing and the adornments of the chapel itself (three chandeliers hang over this chapel alone) reveal Mary's royal traits. Dressed like royalty, she is to be treated as such.
In addition to the side chapels, the choir screen, constructed a couple centuries after the cathedral's completion, can also add to our spiritual connection with Mary. The screen, which rings the ambulatory, depicts scenes from the life of Mary and Jesus. Starting from the south end, one can see how Mary's birth was nearly as miraculous as Jesus'. While the ambulatory also contains familiar scenes from Jesus' life, it's important to note that it ends with Mary's coronation in heaven. The screen is important because it separated ordinary parishioners from the holy choir section. This meant that they would have to contemplate their prayers in the nave and around the ambulatory. By starting and ending the choir screen with Mary, the designers wanted people to keep the Blessed Virgin in mind and remind them how her assumption into heaven is a victory for humanity.
On a final note, it should not be forgotten that Mary is but a mere intercessor to Jesus, and indeed the Savior's image can be found prominently throughout the cathedral, especially outside. On the west entrance to the church, the Royal Portal, Jesus can be seen giving his last judgment. But Mary is always close by - above the right doorway on the same end we see the statues celebrating her annunciation.
The works of Bernini: Theatrical spirituality
Gianlorenzo Bernini was one of the masters of baroque architecture, as he successfully combined multiple forms of art into dramatic, theatrical productions. Of special note are his work in the church of Sant'Andrea al Quirinale in Rome, the decoration of St. Peter's basilica and the Cornaro Chapel of Santa Maria della Vittoria.
The church of Sant'Andrea al Quirinale is perhaps one of the most fantastic baroque churches in Rome. Its unusual oval shape and spectacular decoration are a feast for the eyes, but when studied carefully, the church also contains a spiritual message. First, one looks to the altar and sees the painting of St. Andrew being crucified on an X-shaped cross. While this painting appears to be a moment of despair, Bernini has done something clever - he has tilted the painting forward slightly. When one looks at Andrew's eyes, we can follow his gaze up to see them staring at a small painting of angels staring down at him. The angels are smiling, assuring him of his salvation.
If one steps back and continues looking up from the altar, we soon arrive at a magnificent statue of Andrew rising towards heaven on a cloud. Free from the suffering of the world, Andrew's arms are outstretched in joy. Bernini does a wonderful job of mirroring the sculpture of Andrew with his architecture. The oval ceiling is decorated in gold leaf, representing the heavens. Around the base of the ceiling, putti (young angel-boys) decorate the heavens with garlands in a playful manner - in some cases they appear overzealous and are close to falling off the ceiling. As Andrew climbs higher, the ceiling opens up and light from the dome pours into the church. Two putti peer over the edge, smiling, happy that Andrew is finally here. Finally, at the top of the dome, we find a gold carving of the Holy Spirit - Andrew's final destination is a reunion with God. The message of Sant'Andrea al Quirinale is one all can aspire to - that at the end of our earthly lives, we too hope that the heavens will open up to us and the angels will celebrate our coming. St. Andrew may have been crucified, but Bernini's church celebrates his - and our - resurrection.
Bernini was also responsible for decorating parts of St. Peter's basilica, as well as the design for its signature piazza. In order to make St. Peter's the greatest church in Christendom, Bernini had to make sure that the relics of St. Peter's were given their proper due. At the time of his decorating, relics played an important role in the Christian faith. Just like Mary's relic in Chartres, the relics at St. Peter's helped people better connect with the spiritual realm.
Understanding this, Bernini designed an elaborate baldacchino, which served to shelter the relics of St. Peter and the bishop's throne. The dictionary entry for baldacchino says they are derived "from those held over the Eastern emperors as a symbol of power." With this in mind, it explains why Bernini's baldacchino is so elaborate - the Church is the ultimate moral authority on Earth and it should have a covering even grander than the emperors of antiquity. Through the baldacchino, one can see all the way to the altar, where a magnificent window with the Holy Spirit shines. Those who see the baldacchino would have been in awe, as it reveals that the reason the Church is so powerful is because it has the power of God behind it.
Besides the baldacchino, Bernini also designed two other significant pieces which add to one's spiritual understanding at St. Peter's: the "Cathedra of St. Peter," and the tomb of Pope Alexander VII. The former is an altarpiece featuring a large golden throne held up by fathers of the church. The throne, said to contain a chair used by Peter himself (though later proved false) is surrounded by golden sculpted rays and the window of the Holy Spirit. It signals to worshippers, like the baldacchino, that Peter himself has the power of God behind him.
Similarly, the Tomb of Alexander VII reminds us that our time on Earth belongs to God. The pope sits in a prayerful position, surrounded by truth and other virtues. But a skeleton, partially covered by the baroque folds, is reaching up to the pope with an hourglass to indicate that his time is up. Since our time on Earth is limited, it is best that we follow the example of men like the pope, who have the virtues on his side.
Finally we come to the Cornaro Chapel of Santa Maria della Vittoria, which features Bernini's famous sculpture, St. Teresa in Ecstasy. It depicts St. Teresa in her moment of heavenly bliss, while an angel stabs an arrow through her heart. Members of the Cornaro family look on from the sidelines. This chapel, like Sant'Andrea al Quirinale, marries multiple forms of artwork together to create a unified spiritual message. Most important to the message are the words carved in the arches above the chapel. Jesus tells Teresa that if he had not created heaven, he would have made it for her. This message of deep love helps to explain the sculpture below. Teresa is floating on a cloud as the angel pierces her - her robes limp around her body. Golden, sculpted rays burst out from the background. Bernini has sculpted Teresa's face in such a way that the viewer seems pulled into this moment of ecstasy. Cleverly, Bernini has placed a hidden window above the sculpture, so light filters in, further highlighting the golden rays and Teresa herself. The entire dramatic piece allows one to understand what it feels like to be loved by God so unconditionally - and a sense of what it means to experience true joy. (It is no wonder why the church is a popular wedding destination!).
The Churches of Ravenna: The Communion of Saints
The churches of San Vitale and Basilica of Sant'Apollinare Nuovo both share a similar message about communing with Jesus. In San Vitale, the marvelous apse shows a beardless Jesus flanked by angels. But more important are the images on the side walls. On either side of Jesus are images of Emperor Justinian and his wife, Empress Theodora, accompanied by their retinues. Above these images are mosaics of others giving thanks, including Abel and Melchizedek. Such images reveal the constant celebration of giving thanks to Jesus. If even the emperor and the clergy must give thanks, so we too, are invited to join them.
A similar image can be found in the Basilica of Sant'Apollinare Nuovo. A long line of saints, male on one side and female on the other, are shown to be giving alms to both Jesus and Mary. The three wise men are among the first figures who are kneeling in prayer before Jesus. This particular church, like San Vitale, illustrates the communion of saints, this group of holy individuals who celebrate with Jesus and the Virgin eternally. Because this group is so prominently featured along the nave of the church, it is a symbol that people are encouraged to join in with giving thanks. It is a timeless celebration which draws figures from all eras. The modern pilgrim becomes a part of this celebration when they enter the church as well.
1,838 words / 7 pages
|
Home
