Chartres

The soul becomes dyed with the color of its thoughts.
–Marcus Aurelius, Meditations, Book 5, v. 16

Thanks to my Instagram habit, much of my mental space is occupied by squares. Within the limits of a square, I sense the freedom to share without words. I envision a clear, thoughtful grid connecting experiences and exuding harmony. Imagine my delight when I recently stepped into a contemporary stained glass exhibit that was dominated by square panels!

My first thought was that much like me, the artists were under the spell of Instagram. But then I thought of the stained glass windows in Chartres Cathedral, a few steps from the museum. Some of the windows are 900 years old, and most are arranged in circles, squares, and rectangles. Each window is its own medieval grid, to be read from bottom to top. So, placing a story in the bounds of a square is nothing new, but the immediacy and reach of Instagram is.

The contemporary pieces at the International Stained Glass Centre do not invite a bottom to top reading, but rather offer a sampling of work from artists all over the world, exploring the theme “the search for the light of the world.” I treat the works as impressions rather than narratives. My eye goes straight to the tight, bursting center of Shinique Smith’s untitled 2016 panel. Her energetic swirls are reminiscent of dragon flies that skip across lakes in the summer and remind me of the fairy parties I organize for my nieces and nephew. Much like the medieval panels in the cathedral across the way, color and light cultivate wonder. Her work brings forth an inner light that radiates, undulates, and eventually flows from the frame. Here, the multicolored lumière du monde grows from a dense, interior space of possibility–patterns, shapes and colors in evolution, expressing the harmonious contrasts of the soul.

...everything is already present, though hidden.
–Hildegard of Bingen

We’re drawn to the grandeur of Gothic cathedrals—height, history, stained glass, light. So old! So holy! So overwhelming!

I’ve made my way to Chartres Cathedral several times in the last twenty years, and each visit allows me to know the space more intimately. With each day spent wandering the Cathedral, its light, colors, and shapes become more deeply rooted in my internal landscape. Likewise, I think that through my thought and presence, I become part of the very long history of Notre-Dame de Chartres. I believe that different versions of myself linger in the transepts, the ambulatories, and on the 13^th century labyrinth.

During my last visit to Chartres, the Cathedral was cold and hushed. More than usual, I absorbed detail. A small, dried bouquet tacked to a column, a group of women praying the rosary at the foot of a statue of the Virgin Mary, a tunic-shaped keyhole on the North Porch of the church. The decoration had been already present, though hidden to me, lost among the statues of Old Testament figures. The minute detail announces that Notre-Dame de Chartres houses the Sancta Camisia, a veil that is believed to have been worn by the Virgin Mary. A sacred relic, the garment was given to Chartres in 876 by Charlemagne’s grandson, Charles the Bald. The Sancta Camisia has been credited with protecting the Cathedral over the centuries, and it is still an object of devotion for pilgrims.

Each of my occasional Chartres pilgrimages helps me to unlock present-hidden parts of myself. The knowledge doesn’t reside in the Cathedral like I once thought. Rather, I believe that sacred places emanate a peaceful beauty that enables us to access the wisdom we already possess.