Occurrence of Attributes in Original Text

The text related to the cultural heritage 'Chartres Cathedral' has mentioned 'Cathedral' in the following places:
Occurrence Sentence Text Source
Medieval Roman Rite Catholic cathedral
The cathedral is designated a World Heritage Site by UNESCO, which calls it "the high point of French Gothic art" and a "masterpiece".
The cathedral is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century.
Since at least the 12th century the cathedral has been an important destination for travellers.
It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral.
A more serious fire broke out on 7 September 1020, after which Bishop Fulbert (bishop from 1006 to 1028) decided to build a new cathedral.
The new cathedral was constructed atop and around the remains of the 9th-century church.
In 1134, another fire in the town damaged the facade and the bell tower of the cathedral.
The Royal Portal on the west facade, between the towers, the primary entrance to the cathedral, was probably finished between 1145 and 1245.
On the night of 10 July 1194, another major fire devastated the cathedral.
The cathedral was already known throughout Europe as a pilgrimage destination, due to the reputed relics of the Virgin Mary that it contained.
Some portions of the building had survived, including the two towers and the royal portal on the west end, and these were incorporated into the new cathedral.
The nave, aisles, and lower levels of the transepts of the new cathedral were probably completed first, then the choir and chapels of the apse; then the upper parts of the transept.
The major portions of the new cathedral, with its stained glass and sculpture, were largely finished within just twenty-five years, extraordinarily rapid for the time.
The cathedral was formally re-consecrated in October 1260, in the presence of King Louis IX of France, whose coat of arms was painted over the entrance to the apse.
The Coronation of Henri IV of France in the Cathedral on 27 February 1594
After the ceremony and a mass, they moved to the residence of the bishop next to the cathedral for a banquet.
The local Revolutionary Committee decided to destroy the cathedral via explosives and asked a local architect to find the best place to set the explosions.
The cathedral, like Notre Dame de Paris and other major cathedrals, became the property of the French State and worship was halted until the time of Napoleon, but it was not further damaged.
On August 16, 1944, during the intervention of the American troops in Chartres, the cathedral was saved from destruction thanks to the American colonel Welborn Barton Griffith Jr. (1901-1944), who questioned the order he was given to destroy the cathedral.
Griffith, accompanied by a volunteer soldier, instead decided to go and verify whether or not the Germans were using the cathedral.
Griffith could see that the cathedral was empty, so he had the cathedral bells ring as a signal for the Americans not to shoot.
In 2009, the Monuments Historiques division of the French Ministry of Culture began an $18.5-million program of works at the cathedral, cleaning the inside and outside, protecting the stained glass with a coating, and cleaning and painting the inside masonry creamy-white with trompe-l'xc5x93il marbling and gilded detailing, as it may have looked in the 13th century.
The cathedral is the seat of the Bishop of Chartres of the Diocese of Chartres.
Chartres floorplan (1856) by Eugxc3xa8ne Viollet-le-Duc (1814xe2x80x931879) The elevation of the nave, showing the gallery on the ground level; the narrow triforium; and, on top, the windows of the clerestory Flying buttresses supporting the upper walls and counterbalancing the outward thrust of the vaulted ceiling, allowing thin walls and greater space for windows Flying buttresses seen from above The vaults of the roof, connected by stone ribs to the pillars below, combined with the flying buttresses outside make possible thinner walls, and the great height and large windows of the Cathedral
The plan, like other Gothic cathedrals, is in the form of a cross and was determined by the shape and size of the 11th-century Romanesque cathedral, whose crypt and vestiges are underneath it.
This was the first known use in a Gothic cathedral.
The arches press against the walls, counterbalancing the outward thrust from the rib vaults over the cathedral interior.
Chartres was not the first cathedral to use this innovation, but it used it much more consistently and effectively throughout.
The two towers survived the devastating fire of 1194, which destroyed most of the cathedral except the west facade and crypt.
As the cathedral was rebuilt, the famous west rose window was installed between the two towers (13th century),[16] and in 1507, the architect Jean Texier (also sometimes known as Jehan de Beauce) designed a spire for the north tower, to give it a height and appearance closer to that of the south tower.
Plans were made for the addition of seven more spires around the cathedral, but these were abandoned.
A fire in 1836 destroyed the roof and belfries of the cathedral, and melted the bells, but did not damage the structure below or the stained glass.
The cathedral has three great portals or entrances, opening into the nave from the west and into the transepts from north and south.
One of the few parts of the cathedral to survive the 1194 fire, the Portail royal was integrated into the new cathedral.
Opening on to the parvis (the large square in front of the cathedral where markets were held), the two lateral doors would have been the first entry point for most visitors to Chartres, as they remain today.
As well as their basic functions of providing access to the interior, portals are the main locations for sculpted images on the Gothic cathedral and it is on the west faxc3xa7ade at Chartres that this practice began to develop into a visual summa or encyclopedia of theological knowledge.
While most of the sculpture of the cathedral portrayed Saints, Apostles and other Biblical figures, such as the angel holding a sundial on the south facade, other sculpture at Chartres was designed to warn the faithful.
The architecture of the cathedral, with its innovative combination of rib vaults and flying buttresses, permitted the construction of much higher and thinner walls, particularly at the top clerestory level, allowing more and larger windows.
These are the oldest windows in the cathedral.
The cathedral has three large rose windows.
[33] Another possible explanation is that the Cathedral clergy wanted to emphasise the universal reach of the Church, particularly at a time when their relationship with the local community was often a troubled one.
Although estimates vary (depending on how one counts compound or grouped windows) approximately 152 of the original 176 stained glass windows survive xe2x80x93 far more than any other medieval cathedral anywhere in the world.
During World War II most of the stained glass was removed from the cathedral and stored in the surrounding countryside to protect it from damage.
The small Saint Lubin Crypt, under the choir of the cathedral, was constructed in the 9th century and is the oldest part of the building.
It is surrounded by a much larger crypt, the Saint Fulbert Crypt, which was completed in 1025, five years after the fire that destroyed most of the older cathedral.
It is U-shaped, 230 meters long, next to the crypts of St. Peter's Basilica in Rome and Canterbury Cathedral, it is the largest crypt in Europe and serves as the foundation of the Cathedral above.
A reliquary here contains a fragment of the reputed veil of the Virgin Mary, which was donated to the cathedral in 876 by Charles the Bald, the grandson of Charlemagne.
The altar of the chapel is carved from a single block of limestone from the Berchxc3xa8res quarry, the source of most of the stone of the cathedral.
The labyrinth (early 1200s) is a famous feature of the cathedral, located on the floor in the center of the nave.
Copies of the Chartres labyrinth are found at other churches and cathedrals, including Grace Cathedral, San Francisco.
Chapel of Saint Piatus of Tournai, added in 1326 to the east of the apse Labyrinth in the gardens of the bishop Chapel of Saint Piatus of Tournai (left), apse of the cathedral and the old bishop's residence
The Chapel of Saint Piatus of Tournai was a later addition to the cathedral, built in 1326, close to the apse at the east end of the cathedral.
The lower floor was used as a chapter house, or meeting place for official functions, and the top floor was connected to the cathedral by an open stairway.
The sacristy, across from the north portal of the cathedral, was built in the second half of the 13th century.
A gateway from the period of Louis XV leads to the palace and also gives access to the terraced gardens, which offer of good view of the cathedral, particularly the chevet of the cathedral at the east end, with its radiating chapels built over the earlier Romanesque vaults.
On 10 June 1194, another fire caused extensive damage to Fulbert's cathedral.
In fact, the present building is only marginally longer than Fulbert's cathedral.
Australian architectural historian John James, who made a detailed study of the cathedral, has estimated that there were about 300 men working on the site at any one time, although it has to be acknowledged that current knowledge of working practices at this time is somewhat limited.
From 1997 until 2018, the exterior of the cathedral underwent an extensive cleaning, that also included many of the interior walls and the sculpture.
The statement of purpose declared, "the restoration aims not only to clean and maintains the structure but also to offer an insight into what the cathedral would have looked like in the 13th century."
At the beginning of the 11th century, Bishop Fulbert besides rebuilding the cathedral, established Chartres as a Cathedral school, an important center of religious scholarship and theology.
In the Middle Ages, the cathedral functioned as a kind of marketplace, with different commercial activities centred on the different portals, particularly during the regular fairs.
Workers of various professions gathered in particular locations around the cathedral awaiting offers of work.
Although the town of Chartres was under the judicial and tax authority of the Counts of Blois, the area immediately surrounding the cathedral, known as the cloxc3xaetre, was in effect a free-trade zone governed by the church authorities, who were entitled to the taxes from all commercial activity taking place there.
[55] As well as greatly increasing the cathedral's income, throughout the 12th and 13th centuries this led to regular disputes, often violent, between the bishops, the chapter and the civic authorities xe2x80x93 particularly when serfs belonging to the counts transferred their trade (and taxes) to the cathedral.
Even before the Gothic cathedral was built, Chartres was a place of pilgrimage, albeit on a much smaller scale.
In 876 the cathedral acquired the Sancta Camisa, believed to be the tunic worn by Mary at the time of Christ's birth.
According to legend, the relic was given to the cathedral by Charlemagne who received it as a gift from Emperor Constantine VI during a crusade to Jerusalem.
[57] In fact, the Sancta Camisa was a gift to the cathedral from Charles the Bald and there is no evidence for its being an important object of pilgrimage prior to the 12th century.
[citation needed] In 1194, when the cathedral was struck by lightning, and the east spire was lost, the Sancta Camisa was thought lost, too.
Some research suggests that depictions in the cathedral, e.g.
[59] However, the widespread belief[citation needed] that the cathedral was also the site of a pre-Christian druidical sect who worshipped a "Virgin who will give birth" is purely a late-medieval invention.
The fairs were held in the area administered by the cathedral and were attended by many of the pilgrims in town to see the cloak of the Virgin.
Today Chartres continues to attract large numbers of pilgrims, many of whom come to walk slowly around the labyrinth, their heads bowed in prayer xe2x80x93 a devotional practice that the cathedral authorities accommodate by removing the chairs from the nave on Fridays from Lent to All Saints' Day (except for Good Friday).
Feeling that the beauty of Chartres and its unknown artisans and architects epitomized this sentiment, Welles, standing outside the cathedral and looking at it, eulogizes:
I'm back in the world that I was brought up in as a child, the Roman Catholic spiritual-image world, and it is magnificent ... That cathedral talks to me about the spiritual information of the world.
Chartres was the primary basis for the fictional cathedral in David Macaulay's Cathedral: The Story of Its Construction and the animated special based on this book.
The book used the cathedral's architecture and history as clues in the search for a lost Gospel.
The cathedral is featured in the television travel series The Naked Pilgrim; presenter Brian Sewell explores the cathedral and discusses its famous relic xe2x80x93 the nativity cloak said to have been worn by the Virgin Mary.
Popular action-adventure video game Assassin's Creed features a climbable cathedral modelled heavily on the Chartres Cathedral.
One of the attractions at the Chartres Cathedral is the Chartres Light Celebration, when not only is the cathedral lit, but so are many buildings throughout the town, as a celebration of electrification.
In this cathedral, seat of a renowned school, technical and artistic mastery were at the service of a highly developed iconographic science.
It is the most elucidating example one could choose to define the cultural, social and aesthetic reality of the Gothic cathedral.
The cathedral has also preserved outstanding stained glass from the middle of the 12th century as well as almost the totality of its homogeneous decor of stained glass that comprises the greatest ensemble of stained glass from the first half of the 13th century.
A true meeting point emblematically confirming the remarkable relation maintained by the architectural work with the surrounding site, this perception of the cathedral xe2x80x9cbetween sky and earthxe2x80x9d was evoked by many illustrous artists and writers.
However, the relation between the cathedral and its landscape has now become vulnerable in the face of development pressures.
Once in place, the management plan will inscribe the landscape dimension of the cathedral into the territorial planning tools.