Basilica of Saint-Denis in the context of "Pepin the Short"

Cathedrals, collegiate churches, and monastic churches like those of abbeys and priories, often have certain complex structural forms that are found less often in parish churches. They also tend to display a higher level of contemporary architectural style and the work of accomplished craftsmen, and occupy a status both ecclesiastical and social that an ordinary parish church rarely has. Such churches are generally among the finest buildings locally and a source of regional pride. Many are among the world's most renowned works of architecture. These include St Peter's Basilica, Notre-Dame de Paris, Cologne Cathedral, Salisbury Cathedral, Antwerp Cathedral, Prague Cathedral, Lincoln Cathedral, the Basilica of Saint-Denis, Santa Maria Maggiore, the Basilica of San Vitale, St Mark's Basilica, Westminster Abbey, Saint Basil's Cathedral, Antoni Gaudí's incomplete Sagrada Família and the ancient cathedral of Hagia Sophia in Istanbul, now a mosque.

The earliest large churches date from Late Antiquity. As Christianity and the construction of churches spread across the world, their manner of building was dependent upon local materials and local techniques. Different styles of architecture developed and their fashion spread, carried by the establishment of monastic orders, by the posting of bishops from one region to another and by the travelling of master stonemasons who served as architects. The successive styles of the great church buildings of Europe are known as Early Christian, Byzantine, Romanesque, Gothic, Renaissance, Baroque, Rococo, Neoclassical, and various Revival styles of the late 18th to early 20th centuries, and then Modern. Underlying each of the academic styles are the regional characteristics. Some of these characteristics are so typical of a particular country or region that they appear, regardless of style, in the architecture of churches designed many centuries apart.

The accession of the king of France to the royal throne was legitimized by a ceremony performed with the Crown of Charlemagne at the Reims Cathedral. In late medieval and early modern times, the new king did not need to be anointed in order to be recognized as French monarch but ascended upon the previous monarch's death with the proclamation "Le Roi est mort, vive le Roi!"

The most important part of the French ceremony was not the coronation itself, but the Sacre – the anointing or unction of the king. The Carolingian king Pepin the Short was anointed in Soissons (752) to legitimize the accession of the new dynasty. A second anointing of Pepin by Pope Stephen II took place at the Basilica of Saint-Denis in 754, the first to be performed by a pope. The unction served as a reminder of the baptism of king Clovis I in Reims by archbishop Saint Remi in 496/499, where the ceremony was finally transferred in 816 and completed with the use of the Holy Ampulla found in 869 in the grave of the Saint. Since this Roman glass vial containing the balm due to be mixed with chrism, was allegedly brought by the dove of the Holy Spirit, the French monarchs claimed to receive their power by divine right. Out of respect for the miraculous oil, the king's shirt and the gloves put on after the unction of the hands were burned after the ceremony. Exceptionally, the shirt worn by Louis XV was not burned. The shirt was donated to the king of Portugal, John V, and is today at the National Palace of Mafra, guarded by the Royal and Venerable Confraternity of the Most Blessed Sacrament of Mafra.

A tomb effigy (French: gisant ("lying")) is a sculpted effigy of a deceased person usually shown lying recumbent on a rectangular slab, presented in full ceremonial dress or wrapped in a shroud, and shown either dying or shortly after death. Such funerary and commemorative reliefs were first developed in Ancient Egyptian and Etruscan cultures, and appear most frequently in Western European tombs from the late 11th century, in a style that continued in use through the Renaissance and early modern period, and is still sometimes used. They typically represent the deceased in a state of "eternal repose", with hands folded in prayer, lying on a pillow, awaiting resurrection. A husband and wife may be depicted lying side by side.

Medieval life-size recumbent effigies were first used for tombs of royalty and senior clerics, before spreading to the nobility. A particular type of late medieval effigy was the transi, or cadaver monument, in which the effigy is in the macabre form of a decomposing corpse, or such a figure lies on a lower level, beneath a more conventional effigy. Mourning or weeping figures, known as pleurants were added to important tombs below the effigy. Non-recumbent types of effigy became popular during the Renaissance. By the early Modern period, European effigies were often shown as alive, either kneeling or in a more active pose, especially for military figures. Variations show the deceased lying on their side as if reading, kneeling in prayer, or even standing. The recumbent effigy had something of a revival during the 19th-century Gothic revival, especially for bishops and other clerics.

The stained glass windows of Chartres Cathedral are held to be one of the best-preserved and most complete set of medieval stained glass, notably celebrated for their colours, especially their cobalt blue. They cover 2600 square metres in total and consist of 167 windows illustrating biblical scenes, the lives of the saints and scenes from the life of trade guilds of the period.

Some windows survive from an earlier Chartres Cathedral, such as the three lancets on the west front (1145–1155, contemporary with those made for Abbot Suger at the Basilica of Saint-Denis) and the lancet south of the choir known as 'Notre-Dame de la Belle Verrière', famed for its Chartres blue (1180). However, most of the windows were probably made between 1205 and 1240 for the present church, taking in the Fourth Crusade (bringing a large number of important relics to Chartres) and the Albigensian Crusade, as well as the reigns of Philip II Augustus (1180–1223) and Louis VIII (1223–1226), with the building's consecration finally occurring in 1260 under Louis IX (1226–1270).

Dagobert I (Latin: Dagobertus; c. 603/605 – 19 January 639) was King of the Franks. He ruled Austrasia (623–634) and Neustria and Burgundy (629–639). He has been described as the last king of the Merovingian dynasty to wield real royal power, after which the Mayor of the palace rose as the political and war leader. Dagobert was the first Frankish king to be buried in the royal tombs at the Basilica of Saint-Denis.