Editing Gothic architecture (section)

== Sculpture ==
=== Portals and tympanum ===
Sculpture was an important element of Gothic architecture. Its intent was present the stories of the Bible in vivid and understandable fashion to the great majority of the faithful who could not read.{{sfn|Wenzler|2018|p=79}} The iconography of the sculptural decoration on the façade was not left to the sculptors. An edict of the [[Second Council of Nicaea]] in 787 had declared: "The composition of religious images is not to be left to the inspiration of artists; it is derived from the principles put in place by the Catholic Church and religious tradition. Only the art belongs to the artist; the composition belongs to the Fathers."{{sfn|Wenzler|2018|p=79}}

<gallery widths="200" heights="150">
File:Chartres - south portal - central bay -.jpg|Monsters and devils tempting Christians – South portal of [[Chartres Cathedral]] (13th century)
File:Wells cathedral 12 crop.JPG|Gallery of Kings and Saints on the façade of [[Wells Cathedral]] (13th century)
File:Amiens tympan central detail 07.jpg|[[Amiens Cathedral]], tympanum detail – "Christ in majesty" (13th century)
File:Amiens iluminacion fachada catedral.JPG|Illumination of portals of Amiens Cathedral to show how it may have appeared with original colors
File:Reims6.jpg|West portal Annunciation group at [[Reims Cathedral]] with smiling angel at left (13th century) 
</gallery>

In Early Gothic churches, following the Romanesque tradition, sculpture appeared on the façade or west front in the triangular tympanum over the central portal. Gradually, as the style evolved, the sculpture became more and more prominent, taking over the columns of the portal, and gradually climbing above the portals, until statues in niches covered the entire façade, as in [[Wells Cathedral]], to the transepts, and, as at Amiens Cathedral, even on the interior of the façade.{{sfn|Wenzler|2018|p=79}}

Some of the earliest examples are found at [[Chartres Cathedral]], where the three portals of the west front illustrate the three epiphanies in the [[Life of Christ in art|Life of Christ]].<ref>{{cite web |url= https://chartrescathedral.net//chartres-cathedral-royal-portal-sculpture/ |title= Chartres Cathedral Royal Portal Sculpture |year= 2020 |publisher= Chartres Cathedral |access-date= 31 May 2020 |archive-date= 17 April 2019 |archive-url= https://web.archive.org/web/20190417033851/https://chartrescathedral.net/chartres-cathedral-royal-portal-sculpture/ |url-status= live }}</ref> At Amiens, the tympanum over the central portal depicted the [[Last Judgement]], the right portal showed the [[Coronation of the Virgin]], and the left portal showed the lives of saints who were important in the diocese. This set a pattern of complex iconography which was followed at other churches.{{sfn|Renault|Lazé|2006|p=35}}

The columns below the tympanum are in the form of statues of saints, literally representing them as "the pillars of the church".{{sfn|McNamara|2017|pp=158–59}} Each saint had his own symbol at his feet so viewers could recognize them; a winged lion meant [[Saint Mark]], an eagle with four wings meant [[Saint John the Apostle]], and a winged bull symbolized [[Saint Luke]]. Floral and vegetal decoration was also very common, representing the [[Garden of Eden]]; grapes represented the wines of [[Eucharist]].{{sfn|McNamara|2017|pp=158–59}}

The tympanum over the central portal on the west façade of Notre-Dame de Paris vividly illustrates the Last Judgement, with figures of sinners being led off to hell, and good Christians taken to heaven. The sculpture of the right portal shows the coronation of the [[Virgin Mary]], and the left portal shows the lives of saints who were important to Parisians, particularly [[Saint Anne]], the mother of the Virgin Mary.{{sfn|Renault|Lazé|2006|p=35}}

To make the message even more prominent, the sculpture of the tympanum was painted in bright colors. following a system of colours codified in the 12th century; yellow, called ''gold'', symbolized intelligence, grandeur and virtue; white, called ''argent'', symbolized purity, wisdom, and correctness; black, or ''sable'', meant sadness, but also will; green, or ''sinople'', represented hope, liberty and joy; red or ''gueules'' (see [[gules]]) meant charity or victory; blue or ''azure'' symbolised the sky, faithfulness and perseverance; and violet, or ''pourpre'', was the colour of royalty and sovereignty.{{sfn|Wenzler|2018|p=54}}

<gallery widths="180px" heights="140px" perrow="4">
File:Cathédrale de Strasbourg, façade, tentateur et vierges folles.jpg|More naturalistic later Gothic. Temptation of the foolish Virgins, Strasbourg Cathedral
File:Escultures dels Pisano al Museo dell'Opera del Duomo de Siena.JPG|Sculpture from façade of Siena Cathedral by [[Nino Pisano]] (14th century)
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In the later Gothic, the sculpture became more naturalistic; the figures were separated from the walls, and had much more expressive faces, showing emotion and personality. The drapery was very skilfully carved. The torments of hell were even more vividly depicted.{{sfn|Wenzler|2018|pp=84–88}} The late Gothic sculpture at [[Siena Cathedral]], by [[Nino Pisano]], pointing toward the Renaissance, is particularly notable. Much of it is now kept in a museum to protect it from deterioration.

===Grotesques and Labyrinths===
[[File:Grotesque, Selby Abbey (6993387433).jpg|thumb|[[Grotesque]] of [[Selby Abbey]] (14th century)]]
Besides saints and apostles, the exteriors of Gothic churches were also decorated with sculptures of a variety of fabulous and frightening [[Grotesque (architecture)|grotesques]] or monsters. These included the [[chimera (mythology)|chimera]], a mythical hybrid creature which usually had the body of a lion and the head of a goat, and the [[Strix (mythology)|strix]] or stryge, a creature resembling an [[owl]] or [[bat]], which was said to eat human flesh. The strix appeared in classical Roman literature; it was described by the Roman poet [[Ovid]], who was widely read in the Middle Ages, as a large-headed bird with transfixed eyes, rapacious beak, and greyish white wings.<ref name="fasti">Frazer, James George (1933) ed., Ovid, [http://data.perseus.org/citations/urn:cts:latinLit:phi0959.phi007.perseus-lat1:6 ''Fasti''] {{Webarchive|url=https://web.archive.org/web/20221116155202/http://www.perseus.tufts.edu/hopper/text?doc=urn:cts:latinLit:phi0959.phi007.perseus-lat1:6 |date=16 November 2022 }} VI. 131–,{{harvnb|Riley|1851|p=216}}, tr.</ref> They were part of the visual message for the illiterate worshippers, symbols of the evil and danger that threatened those who did not follow the teachings of the church.{{sfn|Wenzler|2018|pp=97–99}}

The [[gargoyle]]s, which were added to Notre-Dame in about 1240, had a more practical purpose. They were the rain spouts of the church, designed to divide the torrent of water which poured from the roof after rain, and to project it outwards as far as possible from the buttresses and the walls and windows so that it would not erode the mortar binding the stone. To produce many thin streams rather than a torrent of water, a large number of gargoyles were used, so they were also designed to be a decorative element of the architecture. The rainwater ran from the roof into lead gutters, then down channels on the flying buttresses, then along a channel cut in the back of the gargoyle and out of the mouth away from the church.<ref name="Viollet-le-Duc page 24-26">Viollet-le-Duc, volume 6, page 24-26</ref>

Many of the statues at Notre-Dame, particularly the grotesques, were removed from the façade in the 17th and 18th century, or were destroyed during the [[French Revolution]]. They were replaced with figures in the Gothic style, designed by [[Eugène Viollet-le-Duc]] during the 19th-century restoration.<ref name="Viollet-le-Duc page 24-26" /> Similar figures appear on the other major Gothic churches of France and England.

Another common feature of Gothic cathedrals in France was a [[labyrinth]] or maze on the floor of the nave near the choir, which symbolised the difficult and often complicated journey of a Christian life before attaining paradise. Most labyrinths were removed by the 18th century, but a few, like the one at Amiens Cathedral, have been reconstructed, and the labyrinth at Chartres Cathedral still exists essentially in its original form.{{sfn|Wenzler|2018|pp=99–100}}

<gallery widths="180px" heights="140px" perrow="4">
File:ND Amiens - gargouille.JPG|[[Gargoyle]] of Amiens Cathedral (13th century) 
File:Notre Dame HDR.jpg|A [[Strix (mythology)|strix]] at [[Notre-Dame de Paris]] (19th century copy)
File:Labyrinthchartres.jpg|[[Labyrinth]] of Chartres Cathedral (13th century)
File:AmienCathedralLabyrinth.JPG|Labyrinth with Chartres pattern at [[Amiens Cathedral]] 
</gallery>