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Why were medieval rose windows often devoted to cosmological subjects such as the Last Judgment?

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The north rose window at Chartres Cathedral in France, featuring intricate stained glass with vibrant geometric and biblical designs in a large circular and five tall vertical panels. — stained glass The stained-glass rose window in the north transept of Chartres Cathedral, France.

Medieval rose windows were frequently devoted to cosmological subjects—such as the Last Judgment, the Apocalypse, the cycle of the year, and the glorification of Christ and the Virgin—primarily because the circular form of the window itself was considered inherently cosmological in its implications.1

In the context of medieval stained glass, these windows served as didactic tools within the church, helping to expound upon Scripture and glorify religious figures. The choice of these themes reflected a broader iconographic program where the architectural form and orientation of the building played a significant role in determining the subject matter displayed in specific areas. By placing such vast, complex compositions within the circular frame of a rose window, medieval artists and clergy effectively linked the architectural structure to the divine order of the universe.1