Sculpture was an integral element of High Gothic architecture.
It followed upon and expanded the use of sculpture by Romanesque builders.
Sculpture filled with tympanum over the central portal, occupied the columns, and was placed in niches tigher on the facade.
The subjects were essentially the same on each cathedral; Saints, apostles, and Kings.
At the end of the 12th century Their poses were very formal, and the faces rarely seemed to be looking at each other or at anyone else.
The greatest variety was usually in their drapery, which could be highly stylised or natural.
But in the 13th century the faces and figures became much more vivid and expressive.

The sculpture of Chartres Cathedral served as a model for other High Gothic cathedrals.
The sculpture of the west porch or royal portal is the oldest, dating to the late 12th century before the 1194 fire.
The main themes are the descent of Christ to the earth; his ascension, and the apocalypse, or day of judgement, illustrated by almost two hundred small figures.
The stories are not told in chronological order, but follow a certain path; they begin to the left of the central door, go to the left as far as the south tower, then continue to the right as far as the north tower.
The major figure in the central tympanum is Christ, seated on a throne, rendering judgement.
In addition to the tympanum sculpture, the columns also contain statues of figures from the Old Testament.
Following the style of the 12th century, the bodies and costumes of the figures are practically ignored; all the skill of the sculptor is used on the expressive faces.

The north porch and south porch sculpture at Chartres is from the beginning of the 13th century, and represents the more mature High Gothic style.
The principal themes on the north porch are the Old Testament and the life of the Virgin Mary, along with vivid representations of the vices and the virtues.
The South porch portrays the acts of Christ with his apostles, and the Christian martyrs, while above the door is a portrayal of the Last Judgement.
The figures are crowded into the archivolts over the doorway, The porches also contain statues of confessors, saints, Emperors and Kings in the arcades above the portals.
The thirteenth century figures are portrayed with more emotion and movement.
Together, the sculptures of Chartres formed a comprehensive visual retelling of the Old and New Testament, as well as a catalog of virtues to imitate and vices to avoid.

It is probable that some of the sculptors who made the sculpture of the transepts of Chartres travelled north to Reims, where work began in 1210, and possibly also to Amiens Cathedral, where work began 1218.
Nonetheless, the sculpture of each church has its own distinct characteristics.
The sculpture of Amiens shows the influence of ancient Roman sculpture, particularly in the realistically modelled drapery of their clothing.
The expressions are passive, and the gestures minimal, giving a sense of calm and serenity.
The sculpture of Reims showed a similar calm.

An entirely different and more naturalistic style of High Gothic sculpture appeared on the west front Reims Cathedral in the 1240s.
This was the work of the sculptor known as Joseph of Reims, named for the vivid smiling statue of Saint Joseph he made for the facade.
He also created the Smiling Angel.
This famous work was knocked off the Cathedral by a bombardment in World War I, but was carefully reassembled and is now back in its original place.
Reims is also noted for the Gallery of Kings, a sculptural depiction of the French Kings crowned at Reims, which begins on the facade and continues on the inside of the facade.

The vegetal decoration of the capitals of the columns of the nave were another distinctive feature of High Gothic sculpture.
They were made in finely crafted vegetal forms, complete with birds and other creatures.
This followed an ancient Roman model, and had been used at Saint-Denis, but at Reims they became much more realistic and detailed.
As the work continued toward the west in the nave, the foliage bec
Sculpture was an integral element of High Gothic architecture. It followed upon and expanded the use of sculpture by Romanesque builders. Sculpture filled with tympanum over the central portal, occupied the columns, and was placed in niches tigher on the facade. The subjects were essentially the same on each cathedral; Saints, apostles, and Kings. At the end of the 12th century Their poses were very formal, and the faces rarely seemed to be looking at each other or at anyone else. The greatest variety was usually in their drapery, which could be highly stylised or natural. But in the 13th century the faces and figures became much more vivid and expressive.
The sculpture of Chartres Cathedral served as a model for other High Gothic cathedrals. The sculpture of the west porch or royal portal is the oldest, dating to the late 12th century before the 1194 fire. The main themes are the descent of Christ to the earth; his ascension, and the apocalypse, or day of judgement, illustrated by almost two hundred small figures. The stories are not told in chronological order, but follow a certain path; they begin to the left of the central door, go to the left as far as the south tower, then continue to the right as far as the north tower. The major figure in the central tympanum is Christ, seated on a throne, rendering judgement. In addition to the tympanum sculpture, the columns also contain statues of figures from the Old Testament. Following the style of the 12th century, the bodies and costumes of the figures are practically ignored; all the skill of the sculptor is used on the expressive faces.
The north porch and south porch sculpture at Chartres is from the beginning of the 13th century, and represents the more mature High Gothic style. The principal themes on the north porch are the Old Testament and the life of the Virgin Mary, along with vivid representations of the vices and the virtues. The South porch portrays the acts of Christ with his apostles, and the Christian martyrs, while above the door is a portrayal of the Last Judgement. The figures are crowded into the archivolts over the doorway, The porches also contain statues of confessors, saints, Emperors and Kings in the arcades above the portals. The thirteenth century figures are portrayed with more emotion and movement. Together, the sculptures of Chartres formed a comprehensive visual retelling of the Old and New Testament, as well as a catalog of virtues to imitate and vices to avoid. 
It is probable that some of the sculptors who made the sculpture of the transepts of Chartres travelled north to Reims, where work began in 1210, and possibly also to Amiens Cathedral, where work began 1218. Nonetheless, the sculpture of each church has its own distinct characteristics. The sculpture of Amiens shows the influence of ancient Roman sculpture, particularly in the realistically modelled drapery of their clothing. The expressions are passive, and the gestures minimal, giving a sense of calm and serenity. The sculpture of Reims showed a similar calm.
An entirely different and more naturalistic style of High Gothic sculpture appeared on the west front Reims Cathedral in the 1240s. This was the work of the sculptor known as Joseph of Reims, named for the vivid smiling statue of Saint Joseph he made for the facade. He also created the Smiling Angel. This famous work was knocked off the Cathedral by a bombardment in World War I, but was carefully reassembled and is now back in its original place. Reims is also noted for the Gallery of Kings, a sculptural depiction of the French Kings crowned at Reims, which begins on the facade and continues on the inside of the facade. 
The vegetal decoration of the capitals of the columns of the nave were another distinctive feature of High Gothic sculpture. They were made in finely crafted vegetal forms, complete with birds and other creatures. This followed an ancient Roman model, and had been used at Saint-Denis, but at Reims they became much more realistic and detailed. As the work continued toward the west in the nave, the foliage bec
High Gothic