CHRIST ASCENSION ABOVE CHRIST, FLAMES SYMBOLIZE THE HOLY SPIRIT AND PENTECOST.

T AND PENTECOST. THE LAST JUDGMENT AND PENTECOST

THE APOSTLES GOING ON MISSION
ARE SHOWN IN THE SCULPTURES IN
THE TYMPANUMS ON THE GROUND
FLOOR (THERE IS A CENTRAL
ENTRANCE FLANKED BY TWO BLIND
ARCHES, AND THE APOSTLES GOING
THE LAST JUDGMENT IS REPRESENTED ALONGSIDE THE ASCENSION, WITH THE IN THE CENTRAL PART,
CHOSEN ONES SHOWN IN MEDALLIONS WITHIN THE ARCADES FRAMING THE CHRIST, STANDING INSIDE
ASCENSION. THE DAMNED ARE DEPICTED WITH DEVILS AND DEMONS IN SCENES AT AN ALMOND-SHAPED
BOTH ENDS OF THE MIDDLE PART. MANDORLE, BLESSES WITH
IN THE OUTER ARCATURES, DEMONS TORMENT THE DAMNED, WHO ARE DESTINED HIS RIGHT HAND.
FOR HELL. ONE SCENE DEPICTS A DEMON USING A LONG HOOK TO TORMENT SYMBOLS OF THE FOUR

N E
SOMEONE WHO HAS SINNED LESS SERIOUSLY THROUGH THE MOUTH.

SQ
ON MISSION ARE SHOWN IN THE EVANGELISTS SURROUND

A
TYMPANUMS OF THE LATERAL HIM: AN ANGEL FOR
ARCHES). MATTHEW, A LION FOR
THE ASCENSION OF CHRIST MARK, A BULL FOR LUKE,

M Angoulême U
AND AN EAGLE FOR JOHN.
THE SYMBOLISM OF
THE EUCHARIST

O Cathedral
R

E
IN THE CENTRAL SECTION OF THE ARTWORK, THERE ARE TWO SETS OF THERE IS A COMMON FACTOR THAT UNITES THESE THEMES, ALL DEVELOPED
STACKED ARCADES ON EACH SIDE OF A LARGE BAY, HOUSING SCULPTURES. ALONG A HORIZONTAL AXIS; THERE IS A VERTICAL AXIS THAT TRANSCENDS
THESE SCULPTURES INCLUDE 11 OF THE 12 APOSTLES AND THE VIRGIN MARY THE DIFFERENT SCENES AND REPRESENTS THE NOTION OF THE EUCHARIST.
(POSITIONED TO THE LEFT OF THE BAY), WITNESSING THE ASCENSION OF 1. THE BIRDS THAT DRINK FROM THE CHALICE: IT IS A VERY ANCIENT
CHRIST. UNFORTUNATELY, SOME OF THE DECORATION HAS BEEN DAMAGED BY SYMBOL USED BY THE FIRST CHRISTIANS
THE WINDOW, REQUIRING VIEWERS TO USE THEIR IMAGINATION TO FILL IN THE 2. ABOVE, THE ANGELS WHO FRAME THE TREE OF LIFE WHOSE SAP IS A
MISSING PARTS. THE APOSTLES ARE ARRANGED IN TWO ROWS OF THREE ON
BEVERAGE OF IMMORTALITY
EITHER SIDE OF THE WINDOW, AND THEY ARE DEPICTED LOOKING UPWARD AT
3. STILL ABOVE, AT THE VERY TOP, CHRIST THE SAVIOR AND HIS PROMISES
THE REPRESENTATION OF CHRIST'S ASCENSION. IT'S NOTED THAT A PORTION
OF RESURRECTION
OF THE ARTWORK'S PROGRAM IN THE MIDDLE IS INCOMPLETE OR MISSING.
THE NAVE IS 50 FEET
(15.24 METERS) BROAD,
IN THE YEAR 1128, THE ANGOULEME CATHEDRAL
AND THE STRUCTURE AS A
IN ANGOULÊME, FRANCE, WAS COMPLETED. THE
WHOLE IS MADE UP OF
CATHEDRAL IS A REMARKABLE EXAMPLE OF
FOUR COMPONENTS. THE
ROMANESQUE ARCHITECTURE, WITH
SCULPTURES ADORNING ITS FAÇADE AND FIVE CATHEDRAL'S CENTRAL
ENTRANCES DIVIDED BY TALL COLUMNS. THE TRANSEPT IS THE FINAL OF
SCULPTURE IS THE FIRST INSTANCE OF THE ORIGINAL THREE,
PROGRAMMING THE CHURCH TO IMPROVE ITS WHICH ARE THREE STONE
AESTHETICS. THE INSIDE OF THE BUILDING DOMES THAT ARE
REVEALS AN AISLE-LESS (ONLY A LONG NAVE) LOCATED ABOVE THE
SHAPE STRUCTURE. NAVE. THE NAVE AND
TRANSEPT ARE INTENDED
THE BUILDING RISES 105 FEET (32 METERS) ABOVE THE GROUND AT ITS TO COMBINE TO CREATE A
GREATEST POINT. THE ARCHITECT AIMED TO DEMONSTRATE HOW INSPIRED BY LATIN CROSS.
THE SCAENAE FRONS (STAGES) THAT THE ROMAN THEATRE HAD BY USING THE
FAÇADE.ONE OF THE BELL TOWERS IN THE CATHEDRAL WAS DEMOLISHED THE INTERIOR OF THE NAVE IS COVERED WITH THREE DOMES, A TRANSEPT OF
WHEN IT WAS PLUNDERED DURING THE WARS OF RELIGION (A BATTLE GREAT LENGTH WITH LOFTY TOWERS OVER THE NORTH AND SOUTH ENDS, AND
BETWEEN PROTESTANTS AND ROMAN CATHOLICS). AS A RESULT, THE EDIFICE AN APSIDAL CHOIR WITH FOUR CHEVET CHAPELS. AT THE CROSSING WITH THE
WAS LEFT IN RUINS. THE STRUCTURE WAS TRANSFORMED INTO A TEMPLE TRANSEPT, IS A LARGER DOME OVER PENDENTIVES, WHICH HAS REPLACED THE
DURING THE FRENCH REVOLUTION AND WAS KNOWN AS THE TEMPLE OF ORIGINAL ONE DESTROYED IN THE PROTESTANT SIEGE OF 1568. ONCE LIGHTED
REASON. THE STRUCTURE UNDERWENT RESTORATION FROM 1866 TO 1885 BY TWO LANTERN TOWERS, THE TRANSEPT HAS MAINTAINED ONLY THE
UNDER THE DIRECTION OF FRENCH ARCHITECT PAUL ABADIE, WHO ALSO NORTHERN ONE (ABADIE ALSO MODIFIED IT, AND MOVED THE MEDIEVAL
CONSTRUCTED THE GABLED FAÇADE. THE CURRENT DOME WAS ALSO SCULPTURES TO OTHER LOCATIONS), CHARACTERIZED BY SEVERAL ORDERS OF
RESTORED BY HIM. MULLIONED WINDOWS.
 CHRIST ASCENSION
THE APOSTLES GOING ON MISSION
ARE SHOWN IN THE SCULPTURES IN
THE TYMPANUMS ON THE GROUND
FLOOR (THERE IS A CENTRAL
ENTRANCE FLANKED BY TWO BLIND
ARCHES, AND THE APOSTLES GOING
ABOVE CHRIST, FLAMES SYMBOLIZE THE HOLY SPIRIT AND PENTECOST. THE LAST JUDGMENT AND PENTECOST
THE LAST JUDGMENT IS REPRESENTED ALONGSIDE THE ASCENSION, WITH THE IN THE CENTRAL PART,
CHOSEN ONES SHOWN IN MEDALLIONS WITHIN THE ARCADES FRAMING THE CHRIST, STANDING INSIDE
ASCENSION. THE DAMNED ARE DEPICTED WITH DEVILS AND DEMONS IN SCENES AT AN ALMOND-SHAPED
BOTH ENDS OF THE MIDDLE PART. MANDORLE, BLESSES WITH
IN THE OUTER ARCATURES, DEMONS TORMENT THE DAMNED, WHO ARE DESTINED HIS RIGHT HAND.
FOR HELL. ONE SCENE DEPICTS A DEMON USING A LONG HOOK TO TORMENT SYMBOLS OF THE FOUR

N E
SOMEONE WHO HAS SINNED LESS SERIOUSLY THROUGH THE MOUTH.

SQ
ON MISSION ARE SHOWN IN THE EVANGELISTS SURROUND

A
TYMPANUMS OF THE LATERAL HIM: AN ANGEL FOR
ARCHES). MATTHEW, A LION FOR
THE ASCENSION OF CHRIST MARK, A BULL FOR LUKE,

M Angoulême U
AND AN EAGLE FOR JOHN.
THE SYMBOLISM OF
THE EUCHARIST

O Cathedral
R

E
IN THE CENTRAL SECTION OF THE ARTWORK, THERE ARE TWO SETS OF THERE IS A COMMON FACTOR THAT UNITES THESE THEMES, ALL DEVELOPED
STACKED ARCADES ON EACH SIDE OF A LARGE BAY, HOUSING SCULPTURES. ALONG A HORIZONTAL AXIS; THERE IS A VERTICAL AXIS THAT TRANSCENDS
THESE SCULPTURES INCLUDE 11 OF THE 12 APOSTLES AND THE VIRGIN MARY THE DIFFERENT SCENES AND REPRESENTS THE NOTION OF THE EUCHARIST.
(POSITIONED TO THE LEFT OF THE BAY), WITNESSING THE ASCENSION OF 1. THE BIRDS THAT DRINK FROM THE CHALICE: IT IS A VERY ANCIENT
CHRIST. UNFORTUNATELY, SOME OF THE DECORATION HAS BEEN DAMAGED BY SYMBOL USED BY THE FIRST CHRISTIANS
THE WINDOW, REQUIRING VIEWERS TO USE THEIR IMAGINATION TO FILL IN THE 2. ABOVE, THE ANGELS WHO FRAME THE TREE OF LIFE WHOSE SAP IS A
MISSING PARTS. THE APOSTLES ARE ARRANGED IN TWO ROWS OF THREE ON
BEVERAGE OF IMMORTALITY
EITHER SIDE OF THE WINDOW, AND THEY ARE DEPICTED LOOKING UPWARD AT
3. STILL ABOVE, AT THE VERY TOP, CHRIST THE SAVIOR AND HIS PROMISES
THE REPRESENTATION OF CHRIST'S ASCENSION. IT'S NOTED THAT A PORTION
OF RESURRECTION
OF THE ARTWORK'S PROGRAM IN THE MIDDLE IS INCOMPLETE OR MISSING.
THE NAVE IS 50 FEET
(15.24 METERS) BROAD,
IN THE YEAR 1128, THE ANGOULEME CATHEDRAL
AND THE STRUCTURE AS A
IN ANGOULÊME, FRANCE, WAS COMPLETED. THE
WHOLE IS MADE UP OF
CATHEDRAL IS A REMARKABLE EXAMPLE OF
FOUR COMPONENTS. THE
ROMANESQUE ARCHITECTURE, WITH
SCULPTURES ADORNING ITS FAÇADE AND FIVE CATHEDRAL'S CENTRAL
ENTRANCES DIVIDED BY TALL COLUMNS. THE TRANSEPT IS THE FINAL OF
SCULPTURE IS THE FIRST INSTANCE OF THE ORIGINAL THREE,
PROGRAMMING THE CHURCH TO IMPROVE ITS WHICH ARE THREE STONE
AESTHETICS. THE INSIDE OF THE BUILDING DOMES THAT ARE
REVEALS AN AISLE-LESS (ONLY A LONG NAVE) LOCATED ABOVE THE
SHAPE STRUCTURE. NAVE. THE NAVE AND
TRANSEPT ARE INTENDED
THE BUILDING RISES 105 FEET (32 METERS) ABOVE THE GROUND AT ITS TO COMBINE TO CREATE A
GREATEST POINT. THE ARCHITECT AIMED TO DEMONSTRATE HOW INSPIRED BY LATIN CROSS.
THE SCAENAE FRONS (STAGES) THAT THE ROMAN THEATRE HAD BY USING THE
FAÇADE.ONE OF THE BELL TOWERS IN THE CATHEDRAL WAS DEMOLISHED THE INTERIOR OF THE NAVE IS COVERED WITH THREE DOMES, A TRANSEPT OF
WHEN IT WAS PLUNDERED DURING THE WARS OF RELIGION (A BATTLE GREAT LENGTH WITH LOFTY TOWERS OVER THE NORTH AND SOUTH ENDS, AND
BETWEEN PROTESTANTS AND ROMAN CATHOLICS). AS A RESULT, THE EDIFICE AN APSIDAL CHOIR WITH FOUR CHEVET CHAPELS. AT THE CROSSING WITH THE
WAS LEFT IN RUINS. THE STRUCTURE WAS TRANSFORMED INTO A TEMPLE TRANSEPT, IS A LARGER DOME OVER PENDENTIVES, WHICH HAS REPLACED THE
DURING THE FRENCH REVOLUTION AND WAS KNOWN AS THE TEMPLE OF ORIGINAL ONE DESTROYED IN THE PROTESTANT SIEGE OF 1568. ONCE LIGHTED
REASON. THE STRUCTURE UNDERWENT RESTORATION FROM 1866 TO 1885 BY TWO LANTERN TOWERS, THE TRANSEPT HAS MAINTAINED ONLY THE
UNDER THE DIRECTION OF FRENCH ARCHITECT PAUL ABADIE, WHO ALSO NORTHERN ONE (ABADIE ALSO MODIFIED IT, AND MOVED THE MEDIEVAL
CONSTRUCTED THE GABLED FAÇADE. THE CURRENT DOME WAS ALSO SCULPTURES TO OTHER LOCATIONS), CHARACTERIZED BY SEVERAL ORDERS OF
RESTORED BY HIM. MULLIONED WINDOWS.