The interior of the Notre Dame is a pure gothic loftiness depicting the history of art in Paris. The interpretation of these gothic elements of art is through assessing physical properties, critical analysis of the visual structure, looking at the symbolism that holds from time immemorial and correlation with the cultural influence of the art. For instance, the Notre Dame is an expanse of art that was used in times when illiteracy was rampant; in which case, the Bible could not be written in wordings but by pictorial views of both sculpture and paintings. The Notre Dame had its foundational basis laying back in the 1163 while the interior transformation in the 13th century. This transformation was geared towards enlarging the clerestory windows to appreciate the gothic style of outlook. This gave it the rounded openings, defined by the triforium as opposed to the conventional normal arcades characterized by the unusual triforium (Stokstad, Cothren 497).
The Interior of the Notre Dame
The interior of Notre Dame is made up of a lofty gothic stylish emblem of architecture, which incorporates rose windows of glass whose formation depends on decorated stains. The stains are made up of luminous colors, whose intention of formation is based on the irradiations that give it the glittering outlook. The spires are crafted in an ornate manner, to suit the entire function of symbolizing holiness while the ogee archways give it the gothic outlook. On the other hand, the walls were crafted from quality stones that were cut into sizeable blocks, to form the suitable shapes for construction. Moreover, the mason’s lodge was the source of elements of basis for dressing of the stones (Stokstad, Cothren 497).
The size that forms the expanse of the interior of the Notre Dame is 110 feet in height above the ground while the length is 402 feet. This forms the dimensions, where it is the largest of all gothic churches built afore. The form of construction evident in the church involved the cutting into the hard stone at a depth of 30 feet to lay the foundational basis. This was in response to the expected height, which put the requirement of immense depths for the foundation. The construction was also based upon the architectural advancements of its time, where builders applied these architectural elements to give rise to the best structures with flying buttresses (Steves 56).
The interior of Notre Dame depicts the aesthetic value shown by the irregularities in shape, where this irregularity is used to explain the different capabilities of the architects. It also depicts the intention of identification from the rest, where this irregular shape gives it its reputable unique face. On the other hand, the flying buttresses are sources of illumination; where they act as a subsidy to the enlarged windows. These flying buttresses have an aesthetic value of structural modification to the interior of the Notre dame, in which they compliment as fillers of voids left by the spacious glass windows. Consequently, the element of illumination gives the interior of the Notre Dame the unique color of irradiation, where different sources of reflections show the holiness of the cathedral. The consequent cross shapes above the roofs give the cathedral its symbolism of reaching out for the heavens. The erection of the cross shapes is also in line with seclusion of the art in the building, in order to reveal its unique shape as opposed to the medieval Paris marked with low-roofed lying buildings (Stokstad, Cothren 498).
The five faced model of the interior of the Notre Dame represented the decades of ruling of Louis the fifth, where the north rose faced end represented the source of the reign while the “transept facades” represented the conquering over of the mission of accomplishment of the construction after over forty years in vain of trials. Consequently, the “chapels of the ambulatory” represented the icon in art depicted by Rogier Van Der Weyden’s artistic thinking, which gave rise to communication under the constraints of illiteracy. This art shows the paintings of the Philadelphia crucifixion, which correlates to the teachings of the Bible. The most evident element under these paintings is the passion of Christ, marked by an annotation of a dark painting that shows the dark night symbolic of the mood that engulfed the events that culminated in the death of Jesus Christ (Stokstad, Cothren 67).
During the time of the depiction of these forms of art in the interior of the Notre Dame, there was a devotional revolution where the subject matter was a conversion of non believers and atheists into the spiritual thinking. This posed the need for construction of apartments suitable for the depiction of the ritual cults affiliated to the spiritual thinking. This culminated in the interpretation of the Bible through the word of art described by paintings. By consideration, the revolution was met with the setback of illiteracy where communication to the masses was through paintings that were easily interpreted. This also revealed the life of the artist, who was Rogier Van Der Weyden, as a spiritually dedicated believer with the ability to woe the flock to Christ (Stokstad, Cothren 503).
The interior of the Notre Dame was not only a platform for conversion of the non-believers to the church but also a form of depiction of the iconry in art and architecture, where the constructors based their skills on the existing forms of technology of the time. This has led to the contemporary attractions of masses to follow the route of the cross as evidenced through the Philadelphia crucifixion.