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makes his way from
Jerusalem to Jericho represents the human race which has fallen from the glory of the heavenly city to the degradation of the city of sin. Waylaid by robbers and left half-dead, he symbolizes all of humanity, robbed of its dignity and rendered incapable of saving itself. A priest and a Levite pass by but do nothing to help the wounded man. This vividly represents the incapacity of law and religious ritual in and of themselves to save us from sin. Finally, a hated Samaritan, a half-breed, stops and, moved with pity, pours wine and oil into the suffererâs sores. He stands for Jesus, god and man, who applies the balm of the sacraments----the wine of the Eucharist and the oil of baptism, confirmation, and the anointing of the sick----to the wounds of the sin-sick soul. The Samaritan then brings the poor man to an inn and offers to pay for his treatment. The word âredemptionâ means, literally, to buy back, to pay for. Bearing the burden of our sins on the cross, Jesus paid our debt and bought us back. This parable of Jesus is so much more than a morality tale. It is a self-portrait of the Redeemer himself.----Father Robert Barron
270:
then reproduces in visual form the allegorical interpretations of the parable of the Good
Samaritan from such theologians as Irenaeus, Clement of Alexandria, Origen, Augustine, Gregory the Great, Bede, and others who saw the combined narratives as an allegory of humankind (the traveler), which, damaged at the fall and robbed of its divine likeness (just as the traveler was beaten and robbed), can receive no true salvation from the Old Law (the priest and Levite) but only from Christ (the Samaritan, who will return) and the Church (the inn, which provides aid until the Samaritan does return). The tropological conclusion of the combined narratives is recognition by the viewer of the need to strive for restoration of the likeness of God damaged in the Fall, a central means of which is the practice of charity.
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the old dispensation and its inability to provide salvation. The
Samaritan is Jesus, who rescues fallen humanity from their sin, brings them to the âinnâ of the Church, and promises to return again." Panel 24, as mentioned above, shows us Christ in Majesty, who will return to judge the living and the dead; the bread the Christ holds in his hands may represent the Eucharist which Christ has given us as a pledge of future glory.
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Stories from
Genesis 2-4 are presented in the next eleven panels, beginning with Paradise and the creations of Adam and Eve, the temptation and Fall, and the fruits of the Fall (expulsion from Eden, hard labor, and murder) (Panels 13-23). Panel 14 (discussed below as well) is the central panel of the
155:
The Good
Samaritan window of the Cathedral Notre-Dame de Chartres is located in the south aisle of the nave (#44, see floorplan). Designed to be read from bottom to top, it presents twenty-four separate but interconnected panels. The window presents three medallion clusters (quatrefoils) supported by
303:
The Panels of
Chartres Cathedral Windows, Creation and the Good Samaritan, contain 24 stained-glass windows. Plates one through three depict shoemakers, the funders of the window. Panels four through twelve from bottom to top depict the Story of the Good Samaritan, and the other panels - thirteen to
269:
Pilgrimage is clearly the dominating motif of the Good
Samaritan window. Good shoes, such as those provided by the shoemakers of Chartres (Panels 1-3), and food for the journey (if indeed bread is what is shown in Panel 24) are basic necessities for the successful completion of a journey. The window
273:
The man leaving
Jerusalem is Adam and is symbolic of fallen humanity leaving Paradise (note the common red door motif ). The thieves who stripped and beat him represent the devil and other hostile powers who attack fallen humanity and leave them âhalf-deadâ with sin. The priest and Levite represent
222:
or pilgrim leaves
Jerusalem (see red coloring of gate interior (Panel 5), is stripped of clothing, beaten, and left half dead along the road by robbers. First a priest and then a Levite come by, but both avoid the man. Finally, a Samaritan comes to the travelerâs aid and provides for his care until
110:
Trade windows first appeared at the cathedrals of
Chartres and Bourges between 1200 and 1210. The 176 windows of Chartres present 125 depictions of tradesmen engaged in twenty-five different occupations making, transporting, and selling their products in forty-two windows. Anne Harris suggests that
189:
Panel 3 presents a group of seven individuals presenting a stylized window; the panel is labeled "sutores o" (the shoemakers o"). The shoemakers are noted as having had a master in 1210; perhaps the leading figure, dressed in a green and red-brown, represents this master. Some of the figures watch
138:
In one of the windows of the great Cathedral of Chartres, the story of the creation and fall of man is interwoven with the narrative of the Good Samaritan. This curious juxtaposition reflects and insight of the preachers and teachers of the early Church. The unfortunate man in Jesusâ parable who
119:
The parable of the Good Samaritan (Luke 10:30-37) complemented by a series of Old and New Testament typologies served as a popular subject for cathedral glazing programs in the thirteenth century. Three French cathedral windows fabricated between 1200 and 1215 function in this way: Sens
218:, a cone-shaped pointed hat worn by Jews in medieval Europe and some of the Islamic world. Jesus is seated with his right hand raised and his left hand holding a book, perhaps the book of the Gospels (Panel 4). The parable panels then follow: A traveler, described in the window as
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The parable tells how a man set out from Jerusalem for Jericho, was attacked on the road and left for dead. A passing priest and Levite ignored him but a despised Samaritan found him, bound his wounds and took him to rest at an inn, promising to pay the landlord for his
248:
The crowning panel presents Christ in majesty, seated upon a rainbow with one adoring angel on either side. The Lord holds in his hand what seems to be either an orb or a loaf of breadâthis latter is not commonly part of the iconography of the
298:
The full Good Samaritan and Creation Window, "donated by the Shoemakers' Guild." Three sections consist of the stories of the Good Samaritan of Jesus's Lukan parable as well as the creation and fall accounts of the biblical book of Genesis.
240:, and that Eveâs distaff echoes the shoemakerâs awl. Panel 23 concludes the Genesis narrative with the murder of Abel by his brother Cain and is perhaps an echo of the Good Samaritan robbers beating the pilgrim.
232:
whole window: Adam, who is at the center of Creation, is placed at the center of the middle of the second medallion cluster. In Panel 21 we see Adam delving and Eve spinning. It has been suggested that Adam as
190:
the presentation of the window, others are looking up to Panel 4 where Jesus is delivering the Good Samaritan parable to two Pharisees. In the upper right hand of Panel 3 is the hand with pointing finger (the
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the trade windows at Chartres are an attempt to confront the increasingly pressing challenge which the townâs emerging urban economy presented to the churchâs way of life and its understanding of the world.
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Panels 5-12 present the parable of the Good Samaritan; they are preceded by Christ telling the parable to two Pharisees who had asked "Who is my neighbor?" One of the Pharisees wears the
257:. Panel 14, showing a prelapsarian Adam, echoes Panel 24: Adam is seated on a leaf or branch coming from one of the two trees; the curves of the trees suggest the mandorla typical of
343:
These are the themes of the planes depicting the story of Creation from the Book of Genesis: Chapter 2, vs. 7, 15-17, 20-22; Chapter 3, vs. 1-10, 16-18, 21-24; Chapter 4, vs. 1-8:
131:
Images of the Good Samaritan windows at Bourges, Chartres, and Sens are provided by The Corpus of Medieval Narrative Art, an archive of high-resolution photographs of medieval
491:
Anne F. Harris, "Stained Glass Window as Thing: Heidegger, the Shoemaker Panels, and the Commercial and Spiritual Economies of Chartres Cathedral in the Thirteenth Century,"
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285:
54:
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253:(Panel 24). But if this round and brown object is bread its use in the image may signify that Christ himself is the "provision for the journey"âthe
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Conrad Rudolph, "The Parabolic Discourse Window and the Canterbury Roll: Social Change and the Assertion of Elite Status at Canterbury Cathedral,"
182:(shoemakers) had their shops on the rue de la Petite-Cordonnerie, a few steps from the south transept portals (The shoemakers also donated the
135:, concentrating on French 13th-century stained glass. They are copyrighted by Dr Stuart Whiting and available for legitimate academic purpose.
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accessed on 12/31/2015. A few detailed images from the Genesis section of the window are reproduced in Nancy Honicker, "Bleu de Chartres,"
17:
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Title: PARISEUS. Here, Christ answers a pharisee's question "And who is my neighbor" by the Lukan parable of the Good Samaritan.
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The demi-quatrefoil base comprises three signature panels (Panels 1-3) showing the donors of the windowâthe shoemakers. The
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twenty-four - depict the Story of Creation. These are the themes of the planes depicting the story of the Good Samaritan:
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46:
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L'art religieux du XIIIe siècle en France: Êtude sur l'iconographie du moyen âge et sur ses sources d'inspiration
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The windows from Sens and Bourges are presented in Hughes, "Art and Exegesis," 185-186 as well as in Emile Mâle,
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iconography. He stretches out his right hand in a gesture of authority and holds an orb in his left.
128:.1215). The Good Samaritan-Genesis typology is found as well in a window at Canterbury Cathedral.
409:
87:
422:
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Map to Good Samaritan window image under "Narrative" section and key to "Trade Panels" section.
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539:, edited by Colum Hourihan, 5 vols. (Oxford: Oxford University Press, 2012) 2: 29-37 at 37.
194:) extruding from foliage(?) apparently blessing the work and the window of the shoemakers.
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a demi-cluster horizontal base and interspersed with two lateral demi-medallion clusters.
399:"Christ in Majesty, holding an orb and seated on the rainbow, flanked by adoring angels"
780:
496:
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window). Panels 1 and 2 picture them at work cutting leather and making cord soles.
552:, 2nd ed. (Paris: Librairie Armand Colin, 1925), 197-99. See also Judith A. Kidd,
668:(Oxford, New York: Oxford University Press, 1996), s.v. "Dextera Domini," p. 136.
526:, Conrad Rudolph, ed. (Malden, MA; Oxford: Blackwell, 2006), 173-92 at 185, 186.
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The Good Samaritan window is located on the south wall of the nave (Bay 44).
201:"Panel 16 - God warning Adam and Eve not to eat from the tree of knowledge"
32:
151:
Panel 12 - At the inn, the Samaritan nurses the injured man back to health
91:
653:
Bread, Wine & Money: The Windows of the Trades at Chartres Cathedral
758:"Chartres Cathedral Stained Glass - Bay 44 (Good Samaritan) Panel 24"
679:"Chartres Cathedral Stained Glass - Bay 44 (Good Samaritan) Panel 16"
451:"Chartres Cathedral Stained Glass - Bay 44 (Good Samaritan) Panel 04"
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12 - At the inn, the Samaritan nurses the injured man back to health
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10 - The Samaritan leading the Pilgrim to an inn (left panel of two)
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16 - God warning Adam and Eve not to eat from the tree of knowledge
18:
The Good Samaritan Window, Cathedral of Notre-Dame: Chartres, France
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146:
101:
73:
554:
Behind the Image. Understanding the Old Testament in Medieval Art
493:
Different Visions: A Journal of New Perspectives on Medieval Art
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22 - God instructing Adam and Eve how to live in the wilderness
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11 - An innkeeper welcoming the Samaritan (right panel of pair)
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8 - A Priest and a Levite see the injured man but walk on past
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18 - Tempted by the serpent, Eve tastes the forbidden fruit
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17 - Adam and Eve conversing beneath the tree of knowledge
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21 - Labouring in the wilderness; Adam digs and Eve spins
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4 - Christ telling the parable to a couple of Pharisees
236:(sower or planter) is a play on words for a shoemaker,
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Panels 13-23 present material from the book of Genesis.
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Panels 1-3 are "signature panels" featuring shoemakers.
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The Oxford Companion to Christian Art and Architecture
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Panels 4-12 present the parable of the Good Samaritan.
537:
The Grove Dictionary of Medieval Art and Architecture
440:
The head of the figure on the left is a later repair
376:23 - Cain murdering his brother Abel with a sickle
364:19 - God finds Adam and Eve hiding their nakedness
310:2 - Signature panel (shoemakers making cord soles)
307:1 - Signature panel (a shoemaker cutting leather)
655:(Chicago: University of Chicago Press, 1993), 11.
497:http://differentvisions.org/issue1PDFs/Harris.pdf
367:20 - An angel casts Adam and Eve out of Paradise
86:is located in the south aisle of the nave of the
331:9 - A Samaritan binds the injured man's wounds
325:7 - The pilgrim is beaten, robbed and stripped
522:Christopher G. Hughes, "Art and Exegesis," in
379:24 - Christ in Majesty, seated on the rainbow
313:3 - Signature panel (donation of the window)
206:Parable of the Good Samaritan (Luke 10:25-37)
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322:6 - A bandit prepares to attack the pilgrim
634:
632:
481:. Chicago: The University of Chicago Press.
124:.1200), Chartres (1205/1215), and Bourges (
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57:of all important aspects of the article.
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352:15 - God creates Eve out of Adam's rib
580:"The Corpus of Medieval Narrative Art"
569:(Paris: Ăditions Zodiaque, 2003), 186.
53:Please consider expanding the lead to
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472:
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169:Panel 24 presents Christ in Majesty.
718:s.v. "Maiestas Domini," pp. 295-96.
613:"Genesis202 NRSV - - Bible Gateway"
642:(Rennes: Ouest-France, 1987), 114.
346:13 - God breathing life into Adam
319:5 - The pilgrim leaving Jerusalem
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565:Colette and Jean-Paul Deremble,
387:Panel twenty-four, the image of
174:Signature Panels: The Shoemakers
88:Cathedral Notre-Dame de Chartres
31:
349:14 - Adam dwelling in Paradise
227:Genesis Materials (Genesis 2-4)
45:may be too short to adequately
55:provide an accessible overview
1:
640:Guide des vitraux de Chartres
415:Parable of the Good Samaritan
556:(Oxford: Peter Lang, 2014).
524:A Companion to Medieval Art
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477:Williams, Jane W. (1993).
391:, depicts Christ in glory.
278:The Good Samaritan Window
664:Peter and Linda Murray,
479:Bread, Wine, & Money
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115:Good Samaritan Windows
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792:Stained glass windows
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84:Good Samaritan Window
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716:The Oxford Companion
617:www.biblegateway.com
651:Jane Welch Wilson,
567:Vitraux de Chartres
503:34: (2009): 109-28.
495:1 (September 2008)
423:Vitraux de Chartres
184:Death of the Virgin
787:Chartres Cathedral
762:medievalart.org.uk
745:Oxford Art Journal
683:medievalart.org.uk
590:on October 7, 2011
584:medievalart.org.uk
455:medievalart.org.uk
410:Chartres Cathedral
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223:he should return.
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797:Parables of Jesus
389:Christ in Majesty
383:Christ in Majesty
265:Theme: Pilgrimage
244:Christ In Majesty
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16:(Redirected from
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63:February 2020
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802:Jesus in art
765:. Retrieved
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535:"Chartres,"
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42:lead section
420:(in French)
180:cordonniers
781:Categories
767:2015-12-17
727:Deremble,
701:Deremble,
688:2015-12-17
622:2015-11-04
460:2015-11-04
429:References
220:peregrinus
94:, France.
47:summarize
714:Murray,
404:See also
255:viaticum
212:Judenhut
143:Chartres
92:Chartres
729:Vitraux
703:Vitraux
731:, 186.
705:, 189.
594:8 May
513:stay.
238:sutor
234:sator
596:2023
82:The
501:FMR
214:or
90:in
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126:c
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120:(
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61:(
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