Classic Gothic

[3][8] The French definition of "Gothique Classique" calls for a long nave covered with quadripartite rib vaults and flanked by collateral aisles, a large transept, a choir, and a semi-circular disambulatory leading to a ring of small chapels.

[9] Another characteristic separating "Gothique Classique" from Early Gothic is The absence of lateral tribunes between the upper lower levels of the walls.

These tribunes originally provided stability to the walls, but with the development of higher and stronger flying buttresses they were no longer needed.

[9] Church buildings of Classic Gothic have triforia, or interior galleries on the upper level of the wall, above the side aisles, looking into the nave.

Triforia with windows are typical for Rayonnant Gothic, which was initiated in 1231 by the reconstruction of the upper parts of the choir of the Basilica of Saint-Denis.

[10][11] In Classic cathedrals the nave walls were usually divided into three levels, with the arcade on the ground floor, the triforium or passageway above it, and the clerestory with large windows at the top.

The cathedral immediately previous to the present church burned in 1194, leaving only the crypt, towers, and the recently built west front.

[14] Since the cathedral was constructed with the new flying buttresses, the walls were more stable, enabling the builders to eliminate the tribune level, and have more space for windows.

This meant that the weight of the vaults fell unevenly upon the nave, and required, like Early Gothic cathedrals, alternating strong and weak pillars.

The Bourges buttresses used a unique design with a particularly acute angle, which gave it the necessary force, but it was also reinforced by thicker and stronger walls than Chartres.

[17] The most unusual feature of Bourges Cathedral is the arrangement of vertical height; each part of the elevation is set back, like steps, with the highest roof and vaults over the central aisle.

[18] A fire in 1210 destroyed much of the old cathedral, giving an opportunity to build a more ambitious structure, the work began in 1211, but was interrupted by a local rebellion in 1233, and not resumed until 1236.

[21] Amiens Cathedral was begun in 1220 with its western parts, because the choir of this large building afforded an enlargement of the circle of the defensive walls of the city.

Sculpture filled with tympanum over the central portal occupied the columns and was placed in niches higher on the facade.

The main themes are the descent of Christ to the earth; his ascension, and the apocalypse, or day of judgement, illustrated by almost two hundred small figures.

Following the style of the 12th century, the bodies and costumes of the figures are practically ignored; all the skill of the sculptor is used on the expressive faces.

The principal themes on the north porch are the Old Testament and the life of the Virgin Mary, along with vivid representations of the vices and the virtues.

The figures are crowded into the archivolts over the doorway, The porches also contain statues of confessors, saints, Emperors and Kings in the arcades above the portals.

Together, the sculptures of Chartres formed a comprehensive visual retelling of the Old and New Testament, as well as a catalog of virtues to imitate and vices to avoid.