Chartres Secrets- The Wondrous Background and History of Chartres Cathedral.” 2008 Chartres Secrets. Web. http://en.chartressecrets.org/cathedral/background_history.htm This article is mainly about the importance and history of the Chartres Cathedral, one of the most magnificent and sacred of this time. It is in Chartres, France and was completed in about 26 years, it is the only cathedral that does not have a single king, bishop, cardinal, canon, or anyone interred in the soil of its mound. They believe the construction stared in the year 1194 and was completed in the year 1220, but the cathedral that stands today replaces a succession of several other churches that were built on that site. The Church of Gislebert was destroyed by a fire
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Henry B. Graham said, “it is perhaps the most important example of 13th century glass in America.” Graham recognized that only the upper left quadrant of the medallion contained original 13th century stained glass and that the rest was composed of modern glass. Close examination of Saint George’s face shows that its original paint surface has been lost. The fragment of Saint George was touched up on the front surface of the saint’s body and strengthening the medieval paint lines with cold paint. What remains is small, but coherent core of original, medieval glass. Reinstallation of the cathedrals nave and choir windows were completed by 1921 with the choir finished by 1924. The Princeton Medallion as it now exists was not a restoration, since the original composition was lost in the 18th century. The stained-glass medallion was installed in a gallery housing the Museum’s collection of ceramics given by William Cowper Prime, class of 1843. It is said that the Princeton Medallion has important clues to the original appearance of the upper choir of Chartres, since most of the window composition disappeared. The clerestory is where both stained-glass representations of Saint George are and is the third level of elevation and occupies the last 45 foot of a vaulted space that rose 116 foot. Saint George, like many of the saints, does not lack meaningful temporal associations, and that his role may be comprehended in terms of sacrifice as a Christian martyr. This article mainly covered the history and the reconstruction of the stained-glass over the
Henry B. Graham said, “it is perhaps the most important example of 13th century glass in America.” Graham recognized that only the upper left quadrant of the medallion contained original 13th century stained glass and that the rest was composed of modern glass. Close examination of Saint George’s face shows that its original paint surface has been lost. The fragment of Saint George was touched up on the front surface of the saint’s body and strengthening the medieval paint lines with cold paint. What remains is small, but coherent core of original, medieval glass. Reinstallation of the cathedrals nave and choir windows were completed by 1921 with the choir finished by 1924. The Princeton Medallion as it now exists was not a restoration, since the original composition was lost in the 18th century. The stained-glass medallion was installed in a gallery housing the Museum’s collection of ceramics given by William Cowper Prime, class of 1843. It is said that the Princeton Medallion has important clues to the original appearance of the upper choir of Chartres, since most of the window composition disappeared. The clerestory is where both stained-glass representations of Saint George are and is the third level of elevation and occupies the last 45 foot of a vaulted space that rose 116 foot. Saint George, like many of the saints, does not lack meaningful temporal associations, and that his role may be comprehended in terms of sacrifice as a Christian martyr. This article mainly covered the history and the reconstruction of the stained-glass over the