The Assumption, by Charles‑Antoine Bridan in 1772
This marble sculpture group above the high altar of Chartres Cathedral depicts the Assumption of the Virgin Mary. Created in 1772 by Charles-Antoine Bridan, it shows Mary being lifted into heaven by a host of angels. The figures are arranged in dynamic movement, with flowing garments and upward gestures that suggest ascension. The sculptural ensemble reflects the 18th-century style, which contrasts with the Gothic architecture of the surrounding cathedral.
The work was commissioned during a period of liturgical and artistic renewal in the cathedral’s choir, which included the installation of new furnishings and decorative elements. Though later than the medieval origins of Chartres, Bridan’s sculpture integrates into the liturgical space as a focal point behind the altar. It continues to mark the central devotional theme of the Virgin’s role in Christian theology, consistent with the cathedral’s longstanding dedication to Mary.
The Assumption, by Charles‑Antoine Bridan in 1772
This marble sculpture group above the high altar of Chartres Cathedral depicts the Assumption of the Virgin Mary. Created in 1772 by Charles-Antoine Bridan, it shows Mary being lifted into heaven by a host of angels. The figures are arranged in dynamic movement, with flowing garments and upward gestures that suggest ascension. The sculptural ensemble reflects the 18th-century style, which contrasts with the Gothic architecture of the surrounding cathedral.
The work was commissioned during a period of liturgical and artistic renewal in the cathedral’s choir, which included the installation of new furnishings and decorative elements. Though later than the medieval origins of Chartres, Bridan’s sculpture integrates into the liturgical space as a focal point behind the altar. It continues to mark the central devotional theme of the Virgin’s role in Christian theology, consistent with the cathedral’s longstanding dedication to Mary.