The Gothic age produced the great cathedrals of Europe and brought a full flowering of stained glass windows. Churches became taller and lighter, walls thinned and stained glass was used to fill the increasingly larger openings in them. Stained glass became the sun filled world outside. Abbot Suger of the Abbey of St. Denis rebuilt his church in what is one of the first examples of the Gothic style. He brought in craftsmen to make the glass and kept a journal of what was done. He truly believed that the presence of beautiful objects would lift men’s souls closer to God.
With the advent of the cathedral as a regional seat of power in the early Middle Ages, the art of forming mosaics of stained glass in windows flourished. Though the art had been in use elsewhere, the extravagant and symbolic use of the windows would see their peak with The Church. The works served several purposes aside from the architectural:
First, for a population that was almost wholly illiterate, the depictions of bible stories would serve as illustrations and lessons for the priests and bishops to point to during mass.
Second, they created a holy ambience that would focus the congregation. The stained glass would change the color and quality of the light in the knave, giving what to the peasant would seem an ethereal glow. This created an atmosphere “primed” for worship, convenient since most of those present wouldn’t understand the Latin lessons anyway.
Third, symbolically they represented a membrane between the sacred and the profane. Through the window was the real world. Sin, hate, pain, suffering. The stained glass was a shield from that into the sanctuary of the church and instead made the window a symbolic looking glass into the Heavens.
Quite a lot of structural and functional utility in such a simple concept. So what does any of this have to do with modern consumerism? Simply this: the world of shopping has radically changed and a warehouse filled with the latest, greatest things is no longer viable. Stores need to think about the power of their architecture, from the functional elements to the symbolic.
Gavin J. and Matt C.