Occurrence of Attributes in Original Text
The text related to the cultural heritage 'Chartres Cathedral' has mentioned 'Sculpture' in the following places:
| Occurrence Sentence | Text Source |
|---|---|
| Contents 1 History 1.1 Earlier Cathedrals 1.2 Fire and reconstruction (1194xe2x80x931260) 1.3 Later modifications (13thxe2x80x9318th centuries) and the Coronation of Henry IV of France 1.4 French Revolution and 19th century 1.5 World War II 1.6 2009 restoration 1.7 Liturgy 2 Description 2.1 Statistics 2.2 Plan and elevation xe2x80x93 flying buttresses 3 The towers and clock 4 The Portals and their sculpture 4.1 West, or Royal Portal (12th century) 4.2 North transept portals (13th century) 4.3 South portal (13th century) 5 Angels and monsters 6 Nave and ambulatory 7 Stained glass windows 7.1 12th century windows 7.2 Rose windows 7.3 Windows in aisles and the choir ambulatory 7.4 Clerestory windows 7.4.1 Later windows 8 The Crypt (9thxe2x80x9311th century) 9 High Altar (18th century) 10 Choir wall (16th-18th centuries) 11 Labyrinth 12 Chapel of Piatus of Tournai, bishop's palace and gardens 13 Construction 14 Restoration 15 The School of Chartres 16 Social and economic context 17 Pilgrimages and the legend of the Sancta Camisa 18 Popular culture 19 Chartres Light Celebration 20 See also 21 References 22 Bibliography 23 External links | WIKI |
| 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. | WIKI |
| Early in the French Revolution a mob attacked and began to destroy the sculpture on the north porch, but was stopped by a larger crowd of townspeople. | WIKI |
| Although the sculpture on the portals at Chartres is generally of a high standard, the various carved elements inside, such as the capitals and string courses, are relatively poorly finished (when compared for example with those at Reims or Soissons) xe2x80x93 the reason is simply that the portals were carved from the finest Parisian limestone, or ' 'calcaire' ', while the internal capitals were carved from the local "Berchxc3xa8res stone", that is hard to work and can be brittle. | WIKI |
| The Portals and their sculpture[edit] | WIKI |
| [18] The statuary of the Chartres portals is considered among the finest existing Gothic sculpture. | WIKI |
| The arches and columns of the porch are lavishly decorated with sculpture representing the labours of the months, the signs of the zodiac, and statues representing the virtues and vices. | WIKI |
| 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. | WIKI |
| The north transept rose (10.5xc2xa0m diameter, c. 1235), like much of the sculpture in the north porch beneath it, is dedicated to the Virgin. | WIKI |
| A statue of one of the martyrs, Modeste, is featured among the sculpture on the North Portico. | WIKI |
| Sculpture on the choir screen (16thxe2x80x9318th century) | WIKI |
| Work was begun on the Royal Portal with the south lintel around 1136 and with all its sculpture installed up to 1141. | WIKI |
| The sculpture was originally designed for these portals, but the layouts were changed by successive masters, see careful lithic analysis by John James. | WIKI |
| Work nevertheless progressed rapidly: the south porch with most of its sculpture was installed by 1210, and by 1215 the north porch and the west rose window were completed. | WIKI |
| From 1997 until 2018, the exterior of the cathedral underwent an extensive cleaning, that also included many of the interior walls and the sculpture. | WIKI |
| The walls and sculpture, blackened by soot and age, again became white. | WIKI |
| The monumental sculptures of Chartres Cathedral are valued both for their abundance and for their quality: the large ensembles, reliefs and statues, of the Royal Portail at the entrance to the nave, the six portals and two porches dating from 1210 at the north and south entrances to the transept, offer a complete panorama of Gothic sculpture from the moment when it broke from Romanesque traditions to attain the subtle balance of idealism and realism that characterises its apogee. | UNESCO |