A Brief History of Notre-Dame de Paris

Of all the cathedrals in France, Notre-Dame de Paris (Our Lady of Paris) is the most well-known and beloved of them all. It has seen its share of disasters in the 850 years that it has stood staunchly guarding the Île de la Cité of Paris France. Even with its latest disaster, a fire that left a gaping hole in its roof and toppled the spire that was erected in the 19th century, could not bring her down. The "Grande-Dame" is noted for its abundance of sculpture, immense church bells (10 very large and heavy bells), and those iconic flying buttresses. It is the most visited monument in Paris, a UNESCO World Heritage Site, an official French monument, and a study in art history. It also has one of the worlds largest organs. Further, the site where the cathedral sits has been home to four other churches as well as a Gallo-Roman (the Romanized culture of Gaul [France]under the rule of the Roman Empire) temple. It was built in stages and has always been in some sort of state of repair or renovation.

**Fun Fact**: The framework of the choir and nave are one of the oldest in Paris and are referred to as “the Forest”. This is because each wooden beam came from a different tree. If you were to stand up each beam individually, you would have a 52 acre forest!

However, in the April 2019 fire, ALL of these beams were destroyed. 😢

 Let The Building Commence!

 

Diorama approximating construction of Notre-Dame

The construction of Notre-Dame de Paris was the brainchild of the Bishop of Paris at the time, Maurice de Sully. He had observed the building of Saint-Denis, and had marveled at this new style of architecture, with its soaring heights, multitude of richly colored stained glass windows and spacious, light-filled interior. As with all the others, Bishop Sully wanted HIS cathedral to become the center of Christian worship, one that would be a world wonder, and in thanks he would dedicate it to the Virgin Mary (hence Notre-Dame, meaning 'our lady', referring to the Virgin Mary). The project got underway in 1163 with the laying of the foundation stone by Pope Alexandre III in the presence King Louis VII, Bishop Sully and a large crowd of Parisians.

Gothic architecture was in its infancy at this time and building was done by trial and error. For example, with the original plans, the ceiling vaults had been constructed without using the ribbed vaulting. As a result, the interior was rather dark due to the thick walls that were needed to support the massive ceiling. However, in 1220, the interior had its first renovation, with the removal of the massive walls after ribbing was installed in the vaults. This, in turn, allowed for the addition of more windows. Further, it was decided that transepts would be added at the point of the choir, where the altar was located, in order to bring more light into the center of the church. The result is what we see today, an open space that is filled with jewel-toned colors from its vast array of windows.

The Cathedral As The Urban Center

 

Notre Dame became the hub of intellectual life in France. Early in the 12th century, Peter Abelard, who was a great philosopher of the time, had begun teaching at Paris’s Notre-Dame cathedral school (established before the building of Notre-Dame de Paris cathedral, and precursor to the University of Paris). The school remained as part of the "cathedral complex" and as its reputation spread, people began coming to Paris to learn the latest in philosophical teachings. This also bolstered the cathedral's popularity. However, whenever cities "bloom and boom", crime and other "illegal opportunities" will bloom right along with it. And this held true for Notre-Dame de Paris. In 1215 Cardinal Robert de Courçon, Chancellor of the school, had imposed various statutes that would, once again, bring a sense of order to the university community. He instructed that this decree be delivered from the door of Notre-Dame de Paris.

Notre-Dame de Paris and The French Revolution

 

Notre-Dame de Paris had become a powerful symbol of Catholicism and its power in France. As the French Revolution began, the Grande-Dame of cathedrals suffered at the hands of angry anarchists who had had enough of the Catholic church's domination over their society. Enraged insurgents  ransacked the cathedral, removing paintings, statues (with the exception of the Virgin Mary), reliquaries, and furniture. They even destroyed most of the altars. They took whatever they could find that they thought had any sort of monetary value in order to fund their uprising. The 28 figures that made up the Gallery of Kings, which lined the west facade above the portals, were taken down, brought to the cathedral square and beheaded. The rioters believed the statues to be those of French kings, not knowing they were famous kings from the Bible. Lead was taken from the roof and used to make bullets, numerous bronze bells were melted down for use in making cannons, and the original spire that had been erected in the 13th century was removed. The cathedral had been turned into a warehouse of sorts, in order to store food for those fighting the civil insurrection. Later on, it had even been turned into an atheistic temple! 

 

Rebuilding a Monument

 

In 1801, a peace accord was signed between the government of Napoleon Bonaparte and the Holy See stating that the Catholic Church would once again take control of Notre Dame. Restoration work on the cathedral began as soon as the deal was in place. The building was cleaned up and its windows repaired. In 1804, Napoleon declared himself Emperor and had himself crowned at Notre-Dame de Paris. 

 

Original book title (c 1831)

This did not last long, however, as once again fate dealt an awful blow to the Grande Dame, and France, when Napoleon died in 1815. After that, pretty much everything went downhill. The country itself began to suffer and once again, Notre-Dame fell into a state of disrepair and disregard. But, by a stroke of good luck, a writer by the name of Victor Hugo wrote a book that was set in Notre-Dame de Paris called "The Hunchback of Notre-Dame" (the name given to the English version). His purpose for writing the book was to remind people of the jewel that once was the heartbeat of their city. The book was about a hunchbacked bell ringer who lived in Notre-Dame, named Quasimodo, who fell in love with a beautiful gypsy named Esmeralda. His story gained such popularity that it reignited a passion for the now piteous cathedral. People had begun to have new interest in restoring it to its former glory. 

Enter one Eugène-Emmanuel Viollet-le-duc, a noted French architect who worked on restoring other Gothic cathedrals such as Saint-Denis and Sainte-Chapelle. In 1844, he and his colleague, Jean-Baptiste Lassus (who died before completion of the project), were chosen by The Commission on Historical Monuments to work on the cathedrals renewal process. Viollet-le-Duc had suggested making two major changes to the interior: rebuild two of the arcade bays to their original 13th century height of four stories, and remove the marble structures and embellishments that were added to the choir during the reign of Louis XIV. The committee only approved the rebuilding of the bays, but then suggested building  two spires, one on each tower, which was quickly rejected by Viollet-le-Duc. Instead, he proposed rebuilding the original Gothic spire and bell tower over the transept, which had been removed in 1786 because it was unstable.

Viollet-le-Duc as St. Thomas

Once everything was agreed upon, the restoration work was able to begin. The bulk of the work focused on replacing the destroyed statuary, building the new spire, which would be placed above the crossing of the transept, repair the stained-glass windows and construct a new sacristy. Viollet-le-Duc also added some original touches to the cathedral. He decorated the spire base with statues of the apostles, with the face of Saint Thomas bearing a striking  resemblance to Viollet-le-Duc! (Architects and craftsmen of the time would often render a likeness of themselves within their piece of work, sort of like a signature.) He also added the now famous gargoyles, grotesques and chimera that sit high above, looking down on the throngs of people below. The entire project took 25 years to complete. But when it was done, le joyau de Paris (the jewel of Paris) was once again shining.

**Fun Fact**: In 1935, three tiny relics, an alleged piece of the Crown of Thorns, some bits of Saint Denis and Saint Genevieve (the city's patron saints), were placed inside a metal rooster, which then had been perched upon the tip of the spire. It has been said that this was done to create a sort of spiritual lightning rod that would protect those within the cathedral. 

 

The Fantastic Beasts of Notre-Dame de Paris

The infamous gargoyles....those hideous creatures that stare down from their perches high above the cathedral. What are they and how did they get there? They were a collaborative effort between Viollet-le-Duc and sculptor Victor Pyanet, as a part of the cathedral's restoration between 1843-1864. However, not all of these gruesome characters are gargoyles. So read on........

Gargoyles

The photo at left shows the gargoyles, defined as "decorative waterspouts that preserve stonework by diverting the flow of rainwater away from buildings". As the Gothic cathedrals proliferated, so did their need for drainage systems. And our intrepid architect had just the fix! Witness, the Gargoyle, or La Gargouille!

Viollet-la-Duc may have gotten the inspiration from the creatures who protected ancient Egyptian tombs and put it together with a 7th-century tale of Saint Romain and La Gargouille, a fire-breathing monster whose head was nailed to a church to serve as a waterspout. By pairing them with the superstitious nature of the Catholic church, they would be a perfect fit! By the middle of the 13th century, these monsters became a staple of the Gothic cathedral.

In addition to the gargoyles, there are Grotesques and Chimera. These figures have no working purpose, other than to keep watch over the cathedral and ward away evil. They sit on various corners, as well as having their own "gallery", La Galerie des Chimères, which connects the two bell towers. From their lofty perch, they keep watch over the city and adorn the cathedral with their one-of-a-kind silhouettes. Some have even adopted their own personality and given names. The most famous one being the Stryga, or spitting-gargoyle. The Stryga is a rather "playful" horned creature that sits with his head in his hands, sticking his tongue out. He even looks a little bored with the whole thing!

 **Fun Fact** Paris is Point Zero

 

Medallion embedded in cobblestone in square in front of Notre Dame de Paris

If you happen to look down as you stand just outside of Notre-Dame de Paris, you may or may not notice this small medallion embedded in the concrete of the Place Jean-Paul II. It is a small geographic marker that symbolizes the exact center of the city and the central point that all roads in France are measured from.

Unfortunately there really isn't a lot of information on this topic, so I am just sharing what I find. I thought it was something interesting and little known. However, I did find that there are several "rituals" that people do when finding the spot. These include:

• Leave a coin and make a wish! Point Zéro seems to serve as a wishing well
• Stand on it and bask in the glory of being the Center of all Paris! Rumor has it that when you stand on the bronze plate, you will always return to Paris
• Stand on it with your lover and share a kiss, ensuring that your love will last forever.

 What's All The Buzz!??! 🐝🐝🐝

Did you know that the cathedral is home to colonies of bees!?!? That's right! These bees were introduced in 2013 as a natural way to pollinate the gardens surrounding the cathedral, as well as  preserving the biodiversity of Paris. They were located on the roof of the sacristy, which is adjacent to the cathedral. The bee species in this hive are known as Buckfast bees, which is a hybrid bee, known for its lack of aggression. (The bees survived the fire in tact and have since been relocated.)

 

 Present Day

The moment the spire started collapsing

Unless you live in a vacuum or on a deserted island, then you have heard of the fire at Notre-Dame de Paris from back in April of this year (I briefly mentioned it when describing "The Forest"). It severely damaged the cathedral and as of today (07/26/2019), with the current heatwave assaulting most of Europe, there is still a slim chance that the cathedral could collapse. However, motion sensors put in place show that the building has not budged a single inch since the fire.


Talks are still taking place on how to repair it, how to brace it up temporarily, as well as what to replace the 19th century spire with. It is my hope that they will keep in mind the historic value of this cathedral and what it means to everyone. Here are a few links to recent stories to get you caught up:

https://time.com/5634240/notre-dame-fire-france-battle/

https://www.usatoday.com/story/travel/news/2019/07/25/notre-dame-paris-heat-wave-may-further-damage-fire-ravaged-cathedral/1824696001/

Netting spread over nave to catch any falling debris

Charring of façade (the blue coloring probably resulted from the pigment used to color the stained glass

Notre-Dame d'Amiens

Our next foray into the majestic world of the Gothic cathedral takes us to Picardie, France and Notre-Dame d'Amiens (Our Lady of Amiens). This cathedral was built in the High Gothic style between the years of 1220-1270. (Due to the many fires at Amiens over the preceding years, most of the written records pertaining to the church were destroyed.)

Amiens cathedral is one of the tallest, complete cathedrals in France, but is superseded by the incomplete cathedral at Beauvais. Amiens is the 19th largest church in France and has the second highest nave in France, at 177 ft, Amiens is a UNESCO World Heritage Site as well as a French Historical monument. It is most known for its spectacular artwork and sculpture both inside and outside.

Interesting fact: Writer Jules Verne lived with his wife, Honorine de Viane Morel, in Amiens from 1882-1900, where he wrote his series of "Voyages Extraordinaires" (which includes "Around the World in 80 Days", "20,000 Leagues Under the Sea" and "Journey to the Center of the Earth").

Building A Monument

Amiens was the first cathedral to be created to house a sacred religious relic, the head of John the Baptist. The alleged head (as it was never truly confirmed that it was the head of John the Baptist) had been taken from the city of Constantinople in 1204, when the city was pillaged during the crusades. The relic attracted those who were deaf, mute and blind, those that suffered from “St. John’s disease" (now known as epilepsy) because they believed these relics were holy and could cure them of their ailments. Similar to Saint Denis, it could not hold all those who would come to visit.

Interesting Fact: The head of St. John the Baptist has been divided in half. The back half (or occipital) part of the skull rests at Amiens while the other half resides at Sainte-Chapelle.

In approximately 1218, the original Romanesque church was hit by lightning, destroying most of the building. It was then decided to use this opportunity to build a new, grand cathedral that could hold all those who would journey to the church. The bishop of the cathedral at that period, Evrard de Fouilloy, wanted his cathedral to be THE site for the center of Christianity, similar to Ste. Chapelle. His cathedral would become a magnificent stone Bible that would teach people about Christianity and the scriptures by relating stories and lessons through its art and architecture.

It has been surmised that construction of the new cathedral began sometime around 1220, under the guidance of Bishop Fouilloy and the architectural design of Robert de Luzarches. However, in 1247 a new bishop took over and decided to halt any further construction of the cathedral due to lack of funding. For more than 11 years the site had become empty, the partially built cathedral stoically standing, awaiting to be completed. Another fire once again marred the cathedral, this time in 1258. Fortunately, only the apse chapels had become the victim this time. But, once again, this fire proved to be a good thing for the cathedral, as people rallied for its construction to resume. It wasn't long before the choir was completed and the cathedral became operational, serving its grateful community of believers. The remaining construction moved ahead, with the building of the two external towers and by 1288 the spire over the transept was built, standing at an astonishing 370 feet!

Outside the Cathedral

 

The western facade dominates the cathedral with its magnificent portals that beckon those who stand there to come inside. But one could linger about just going from portal to portal, being amazed by what is there. The portals are so deep that they could actually be considered porches.

Gallery of Kings, Amiens

Above the portals sits the Gallery of Kings, a row of 22 oversized statues, which spans the entire length of the portals. It portrays The Tree of Jesse, which are those who are believed to be the lineage of Christ (His relatives from the Old Testament). Above that sits the rose window, with its decorative tracery. Above the rose window there is an open arcade, the galerie des sonneurs, or the Bellman's gallery. There are also decorative embellishments that were added in the 19th century by architect Eugene Viollet-le-Duc, as well as the ornamentation on the arches on the Gallery of Kings.

 The Portals

The north portal is dedicated to Saint Firmin, a Spanish missionary, who founded the original church at Amiens in the third century. The tympanum tells the history of Saint Firmin, from the story of his arrival in Amiens, his work in converting people to Christianity, his martyrdom and the miracle of the discovery of his relics. This discovery of Saint Firmin's remains is the heart of the story of this cathedral. This is evident in the way it leads us to where the saint's relics are interned. They are in an ornately beautiful silver and gold châsse in the center of the elevated relic tribune, which is directly behind the main altar at the center of the sanctuary.

In the center, Saint Firmin stands in blessing on the trumeau between the two doors that lead to the north aisles of the cathedral. He is flanked by jamb statues of other local saints and martyrs.

The right portal depicts Mary, the mother of Christ, in several different scenes. On the trumeau, Mary is holding the infant Christ in her left arm, while she extends her right arm to the visitors. Below her feet she is stepping on some sort of half-man, half-lizard creature, symbolising that she is stamping out evil. She is wearing a crown, as she is the Queen of Heaven. Above her is a scene that contains the Ark of the Covenant, which is believed to hold the Ten Commandments. On either side of the Ark are figures which we can assume are Mary's Old Testament relatives. 

In the tympanum above Mary are two stories relating to her life. The one of the left depicts her dormition (death). Being the Holy Virgin, Mary did not necessarily die. She lay dormant in physical space, but very much alive in Heaven. Which leads us to the right hand side, where we see her ascending into heaven, accompanied by angels, bearing her physical form. The top of the tympanum depicts Mary's coronation, as angels gently place a crown atop her head. This is yet another common theme in Gothic architecture and art. Mary was venerated and revered by the Catholics, as she is known as the intercessor between man and Christ.

The jamb statues in Mary's portal relates the story leading up to the birth of Christ. On the left is The Annunciation, where she is being told by the archangel Gabriel that she will bear the Son of God. And on the right, is The Visitation. Here, Mary is being visited by her cousin, Elizabeth, who is pregnant with John the Baptist while Mary is visibly pregnant with Christ. As we look at these statues, they seem more natural. You can see a hint of emotion, the natural draping of the material worn by the figures, almost in a three dimensional way.

Next is the large center portal, known as The Portal of the Beau Dieu (beautiful God). It is here that we see Christ represented in three different ways. As you look at the center of the two immense doors, on the trumeau, there is an elaborately carved statue of the risen Christ. This particular piece was done in the first half of the thirteenth century and is considered a masterpiece of Gothic sculpture. We see Christ holding a Bible in His left hand and holding His right hand up, perhaps in a blessing for those passing through the portals as they enter the holy sanctuary. The folds of the robes that Christ is wearing seem to bring the eye upwards, making the bible in His hand more noticeable. One could take it to mean that the answers we seek are within the pages of this text as well as looking to Heaven for guidance. As we look down, we see three creatures under His feet, a lion, a lamb (usually representative of Christ, however in this interpretation they represent evil) and maybe a snake. We see, yet again, the recurrent theme of Christ overcoming evil.

If we look up to the tympanum above Christ, we see Him portrayed in the Last Judgement. His hands are raised in a rather defensive looking way. On each side of Him are angels. The angels that are kneeling appear to be praying or praising Christ. The two middle ones are carrying the symbols of Christ's persecution, the cross and the spear. Next to Christ, are Mary and St. John. Looking further up, we see Christ portrayed in a scene from the Book of Revelation that says: 

"In His right hand He held seven stars. A  sharp two-edged sword
    came out of His mouth, and His face shone like the sun at its
    brightest". (Rev 1:16, NAB)

We can see Christ holding two swords at His mouth as angels float next to Him, one with the sun and one with the moon. This portal is a grave reminder to those entering the cathedral that what you do while here on earth can effect you in the afterlife, you will either be with the blessed or the damned. This concept is vividly illustrated in the register below Christ. On the right are naked figures, the ones who are damned, as they are being forcibly lead into the mouths of hell. We see the closest figures trying to escape while the hand of the devil pulls them in. There is no escape for those who have not chosen the "good path" in life. In contrast, we see the ones on the left, those who are "blessed", those who have lead a good life according to the precepts from the Bible. They are being gently guided into heaven by the angels. The angels above the blessed place crowns upon their heads as they enter. 

The Interior of Amiens

 

I. Where Did The Stained Glass Windows Go?

People who enter the cathedral are treated to a delight of the senses, with its ethereal feeling created by the soaring heights of the nave and choir, as well as the light pouring in through its many windows. One does notice, however, the lack of stained glass windows that usually proliferates Gothic cathedrals. This is most noticeable as we look up into the clerestory.

Originally Amiens had those remarkable stained glass windows, but when WW I broke out, the ancient windows were taken out in order to protect them. They were stored away and replaced with clear glass windows. However, as fate would have it, the studio where the windows were being stored caught fire, destroying almost all of them!(Methinks this cathedral is some how cursed...anyone want to make offerings to the god of fire?! LOL) 

II. The Choir 

The eastern arm of the cathedral is commonly called the choir, this is the area where the clergy sat and sang. Much of the remaining rows of choir stalls date back to the 16th century. They have over 4.000 figures carved into them! The ambulatory that surrounds the choir is adorned with multicolored sculpture dating from the 15th and 16th centuries. On either side of the ambulatory are statues representing two of the saints that patrons would flock to the cathedral to pay homage to, that of John the Baptist and St. Firmin.

One cannot help but notice the stunning Baroque era pulpit. It is made of marble and gilded wood and supported by three female figures, believed to represent the virtues of faith, hope and charity. These were sculpted by Jean-Baptist Michel Dupuis.

III. The Recumbent Bronzes

Much like Sainte-Chapelle, Amiens can be considered a very large reliquary because of the artifacts that reside there. Included among them are two bronze tombs, those of the ones who had established the cathedral. This is best summed up by this quote that I found:

"Two remarkable monuments of bronze, at the entrance of the nave from the western porch, were erected in memory of the founders of the church, Bishops Evrard and Gaudefroy. Upon the cenotaph of Evrard, the bishop is represented giving his benediction and trampling under his feet two dragons; round the tomb is a leonine inscription in Lombardic characters. The cenotaph of Bishop Gaudefroy d'Eu, on the opposite side of the entrance, and of the same material, differs little in its design and execution from that of Evrard. Both monuments were formerly placed in the middle of the nave, but were removed to the present site in 1762. Monuments of bronze are extremely rare in France, in consequence of the desecration of the churches of this kingdom during the eventful revolution of 1789. [p. 23, French cathedrals by Benjamin Winkles, Robert Garland, 1837]

IV.  The Labyrinth

The labyrinth has long been associated with a spiritual connection to God. They can be seen in several different cultures, including the Greek and Egyptian. The design is an ancient symbol that uses the combined geometry of a circle and spiral, and turn it into a winding path. It is used as a method for introspection, meditation and prayer. The labyrinth can be seen as the journey we are all on in life, finding just the right path. And much like life, It twists and turns, but never dead-ends.
 
The labyrinth at Amiens is connected to the labyrinth of Chartres Cathedral as it has the same arrangement of the path, as well as the same width of the path. However, it differs in the fact that the shape of the one at Amiens is more of an octagonal shape, whereas the one at Chartres is round. In the center of the labyrinth is a medallion that memorializes the construction of the cathedral. The inscription on the outer edge of the medallion says:

"In the year of grace 1220 was this work first begun. At that time the bishop of this diocese was Evrard, blessed bishop. And the king of France was Louis who was the son of Philip the Wise.  He who was master of the work was named Master Robert and surnamed de Luzarches. Master Thomas de Cormont was after him and afterwards his son Master Renaud who had this inscription placed here in the year of incarnation 1288."

The inscription relates the chain of master masons who designed the cathedral. The first being master mason, Robert de Luzarches, who laid out the plan that resulted in expansive spaces in the center of the cathedral. Luzarches worked with another master mason, Thomas de Cormont who finished the work on the upper nave as well as starting the work on the choir.  Cormont's son Renaud built the upper choir, and installed the pavement that included labyrinth.

Structural Faults

The race for higher and lighter often ended in disaster. We see this in both Beauvais and in Amiens. Engineering at that time was just burgeoning, and lessons were being learned the hard way. In the latter half of the fifteenth century, Amiens started to crumble. First, the large central bays began to fail. The main crossing piers that supported the massive vaults begun to buckle inwards at the level of the arcade, and was in danger of collapse. This was a result of insufficient reinforcement to carry the weight of the vault during the original construction. In order to fix this, a series of iron rods linked together, running the length of the nave, were installed. This was done while the rods were still red hot. As the iron cooled, the rods would tighten, similar to a cinch (think of pulling a belt tight). While this helped the situation with the flyers, there was more to come. 
 
The next to go were the exterior choir "flyers" (the arch that connects the buttress to the structure). This was because the buttresses were placed too high. As a result, the gravitational forces from the ceiling arch began pushing outwards, resulting in an excessive lateral load on the vertical columns. By now, the massive structure was in danger of collapsing. This was fixed by building a second row of buttresses underneath the original ones. However, this didn't completely fix the issue. Eventually large cracks started to develop in the walls of the arcade. If the walls continued to crack, the pillars would collapse, and the entire cathedral could come down in a heap of rubble. This was remedied by using an iron girdle to keep the columns where they were, as well as keeping them from buckling outwards.

 

The Life of a Cathedral

The life of a cathedral is fluid. The throngs of people who come and go through the cathedral now, mimic what life was like at the time of the cathedrals in France. However, at that time, people would come to the cathedral to venerate the saints, ask for intercession, celebrate the numerous feast days within the Catholic calendar, as well as attend market fairs that were held in and around the cathedrals. Now, those who come are mostly tourists. Though the influx of revenue generated by these tourists adds to the financial coffers for the maintenance of the cathedral, their presence no doubt adds unwitting damage to this graceful lady. But, she will probably still be standing long after we are gone.

 

 

The Sistine Ceiling

Within the vast complex of Vatican City, which is an independent city-state with its own governing body as well as the seat of the Pope in the Roman Catholic faith, is the famed Sistine Chapel (also known as the Venue of the Papal Conclave). The chapel is named after Pope Sixtus IV, who commissioned its restoration in the late 15th century. Originally, it was defined as the chapel of the Vatican fort, known as Cappella Magna. The chapel serves various important functions, from celebrating papal acts to ceremonies of the Catholic rite, but its major religious role is that of the site where cardinals meet to elect the next pope. The Sistine Chapel is also the home of 2 magnificent frescoes painted by the famed Michelangelo, the Sistine Ceiling (as it is known by) and later, The Last Judgement. There are also works from other notable Renaissance artists, from the likes of Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio, Cosimo Rosselli, and Luca Signorelli.

The ceiling of the Sistine Chapel was originally painted blue and covered with golden stars (think of the ceiling of Sainte-Chapelle's lower chapel). In 1508, Pope Julius II (1503-1513) commissioned Michelangelo to paint the ceiling of the chapel, instead of leaving it as it was. The pope wanted the ceiling done in a " geometric ornament with the 12 apostles placed on spandrels around the decoration". However, Michelangelo suggested that instead of doing ornamentation, he would do a painting of scenes from the Old Testament. Although, at the time, Michelangelo had been known more for his work in sculpture (as he had recently completed his famous sculpture of the Pietá as well as his statue of David, both of which reside in the Vatican) rather than painting. But, never one to be daunted, Michelangelo rose to the challenge and went on to create one of the most famous fresco masterpieces in Western art!

The ceiling of the chapel is made up of 33 separate areas, each space containing a different scene. Each scene is divided using a technique called trompe-l'oeil (visual deception, especially in paintings, in which objects are rendered in extremely fine detail emphasizing the illusion of tactile and spatial qualities), giving the impression that each painting is divided by physical molding within the vault. They are painted in monochromatic colors, creating a spatial effect between each panel.

In the center of the ceiling is a series of nine narrative paintings, depicting scenes from the book of Genesis. There are five smaller scenes, each framed and supported by four naked youths or Ignudi. The scenes start with the Creation of the World (Gen. 1) and end with Noah and the Flood (Gen 6:9). The subject matter was, more than likely, laid out with the help of a cleric from the Vatican (and seeing how this was the home of the pope, he wanted to be sure to get it right!) The entire project took Michelangelo 4 years to complete and took a grave toll on his health. He penned this poem, describing how his work was taxing both his body and mind:

I've grown a goitre by dwelling in this den–

As cats from stagnant streams in Lombardy,

Or in what other land they hap to be–

Which drives the belly close beneath the chin:

My beard turns up to heaven; my nape falls in,

Fixed on my spine: my breast-bone visibly

Grows like a harp: a rich embroidery

Bedews my face from brush-drops thick and thin.

My loins into my paunch like levers grind:

My buttock like a crupper bears my weight;

My feet unguided wander to and fro;

In front my skin grows loose and long; behind,

By bending it becomes more taut and strait;

Crosswise I strain me like a Syrian bow:

Whence false and quaint, I know,

Must be the fruit of squinting brain and eye;

For ill can aim the gun that bends awry.

Come then, Giovanni, try

To succor my dead pictures and my fame;

Since foul I fare and painting is my shame.

The main theme of the frescoes is that of the connection between humans and God, and nowhere is this more evident than in the panel, The Creation of Adam. We are given a breathtaking vision of the spirit of God embodied as a human form, reaching across the heavens, just out of reach of Adam, who lazily reclines on a barren earth. This contact point has previously been described as a spark or current, an electrical metaphor which would be unknown to those in the sixteenth century. Nonetheless, it seems quite a fitting description, considering that the lifeblood which is about to flow into the awaiting Adam is similar to the flow of electric current produced when a wire is connected to a power source. In this case, the power source being God. This particular piece is world-famous and has been reproduced hundreds of thousands of times. And we can see why. It is such a powerful image.

At either end of the ceiling, and beneath the scenes are Prophets and Sibyls (a female prophet or witch, a nod to the pagan beginnings of religion) seated on grandiose thrones that alternate along the long sides, while the shorter sides are taken over by the figures of Zechariah and Jonah (situated above the altar) who has a distinguished position in so much as he is the adumbration of Christ. The crescent-shaped areas, or lunettes, above each of the chapel windows are tablets listing the forerunners of Christ and their accompanying figures. Above them, in the spandrels (the space between the shoulders of adjoining arches and the ceiling or molding above), eight groups of figures are displayed (however, they have not been identified with specific biblical characters). The entire narrative is finished off by four large corner pendentives (a curved triangle of vaulting formed by the intersection of a dome with its supporting arches) each one portraying a dramatic Biblical story.

In 1510, Michelangelo decided that he needed a well-deserved break from this arduous assignment. Upon his return a year later, his style of painting had undergone a noticeable change. Rather than jumbled and multiple images within a scene, as previously done, Michelangelo had decided to minimise details and focus on essential figures, but on a grand scale. Also, he added a strong sense of emotion to the figures as well as dramatic gestures (as in The Creation of Adam). This would enable the viewer on the floor below to have a clear understanding of exactly what the scene was trying to convey. Further, when we look at the commanding figure of God in three of the frescoes, it clearly illustrates the separation of darkness from light, the creation of the heavens and the earth, all radiating its power through God's body.

The influence of these works cannot be emphasized enough. The complexity of design in the individual figures, both clothed and nude, displays Michelangelo’s skill in creating a variety of poses for the human figure. His stupendous works have turned the Sistine Chapel into a veritable academy for future artists!

The Holy Chapel of King Louis IX

Tonight's post takes us to the Palais de la Cite of Paris, where we will look at, rather in depth, the Sainte-Chapelle, or The Holy Chapel. What makes this such a complex topic is that Sainte-Chapelle is more than just a royal chapel. It was also a powerful political symbol and a major turning point in the French monarchy's persistent attempts at creating an imperial autarchy. Even at it stands today, within the Palais de Justice, it still makes a compelling statement as to the power of the French monarchy and its role in society in medieval times. It is for these very reasons that make the building of Sainte-Chapelle an important part of both French and architectural history.

Overview of Sainte-Chapelle

During the thirteenth century, Gothic architecture that was solely created in Paris was called opere francigeno, or French work. It was a style of Middle Age architecture that became synonymous with the French kingdom and its omnipresence there. 

Sainte-Chapelle had become a shining example of the Rayonnant, or radiating, style of High-Gothic architecture in both its design and overall effect. While its exterior was rather plain in terms of its architecture, Sainte-Chapelle's beauty radiated on the inside. The solid stone blocks gave way to immense glistening walls of light, leaving its visitors awe-struck, feeling as though they had been transported to a glorious room in Heaven. Much as Saint Denis became a model for Gothic architecture, Saint-Chapelle became a model for holy chapels; a style that would persist through all of Louis' descendants. 

Despite its beauty and allure to the general public, however, the chapel was never intended for public use. Rather, it was to be a very large reliquary for the many religious artifacts collected by King Louis IX. Churches have always been, to some extent, reliquaries. Many have become the final resting places of kings, saints and martyrs. And Sainte-Chapelle was no different, with its holy relics enshrined in the upper chapel and the tombstones representing some of the chapel's past clergy in the lower chapel.

A Crowning Achievement

In 1237, King Louis IX had managed to procure one of the most holy relics in Christianity, the Crown of Thorns, a part of the passion of Christ. Louis had learned that his cousin, Emperor Baldwin II of Constantinople was in dire financial straights and had pawned the crown to the Venetians. Louis, being a devout Catholic, despaired at the thought of this, and offered to purchase the crown for a very large sum of money. This satisfied all those involved. The Venetians got their money, Baldwin no longer owed the Venetians money and Louis now possessed the most holy of relics. But, the crown was not just a relic, nor was it just historic. This particular crown had been laid upon the head of Christ, causing Him to bleed. 

"And they [the soldiers]stripped him and put a scarlet robe on him, and twisting together a crown of thorns, they put it on his head and put a reed in his right hand. And kneeling before him, they mocked him, saying, “Hail, King of the Jews!”And they spit on him and took the reed and struck him on the head." Matthew 27:28-30 (ESV)

The crown and all that it represents, reminds us of the pain of the suffering Christ, thus adding another dimension into this already spiritual experience. One cannot help but be moved by the whole thing.

The Crown Arrives

The crown was delivered by two Dominican friars, arriving in Paris from Venice, in August of 1239. Louis made a grand event of its arrival. For the last leg of its journey, the crown was carried by the King himself, walking barefoot and dressed as a penitent (I've tried to research WHY he was carrying them as such, but came up with a big fat nothing!) The scene depicted at right, Relics of the Passion, (from the Kings window) shows Louis, wearing a gold crown, followed by his brother and courtiers as they walk into Paris carrying the Crown of Thorns atop a golden chalice. 

The crown was placed in Louis' private chapel, the chapel of San Nicolas. However, Louis felt that this place was not of a suitable size or grandeur to house such an important piece of Christian history. Thus, he commissioned a new, larger and more opulent space for it. He took it upon himself to gather the permissions required for work on the chapel (much the same as today's building permits and variances). Construction took a mere 7 years, completed shortly before Louis would depart for the Middle East and the 7th crusade. (Pay attention here----more numerology!)

In 1241, Louis was able to acquire two other antiquities to add to his collection, fragments of the Holy Cross and the Holy Lance (the spear that pierced the side of Christ as He hung on the cross). These were also placed in the San Nicolas chapel while work continued on their permanent home, Sainte-Chapelle.

The New Jerusalem 

 

Sainte-Chapelle dominated the thirteenth century city of Paris. It was a reified locus, becoming integrated in the city. This helped define Paris as a cultural, spiritual and political center. But, Louis wanted Paris to become more than just a spiritual place, he wanted it to become a second capital of Christianity. The French people already saw their king as Christ’s cleric. Louis embodied the very notion of a devoted Christian king: he was gallant, powerful, and rich, but he was also pious and a dutiful bidder to the church.

Further, Louis' purchase of the relics not only reflected his personal desire to possess all of that which remained, but also to assert his place as a true heir to the throne of Jerusalem. This implied that the Capetians, also known as the House of France (which Louis was a descendant of), were the chosen people of God. This belief was not something just made up by Louis, but well solidified by Pope Gregory IX characterization of the French in 1239:

“The Son God...has established different kingdoms...so the kingdom of France is distinguished above all other peoples of the world by being singled out for honor and grace by the Lord.”(1)

The relationship between God and the French monarchy was now clearly established. Louis’s political aspirations for his kingdom to be the New Jerusalem are clear. The building of his reliquary made for a visual display of France’s divine connection with the Promise Land, and Sainte-Chapelle becoming a holy place.

The Holy Chapel

 

Historians have had some difficulty determining who exactly had designed this Medieval work of art. It is assumed that  perhaps it was Pierre de Montreuil, the architect of monastic buildings that included  Saint-Germain-des-Prés and the southern aisle of the Notre-Dame de Paris’ transept. Others who could also be considered are Robert de Luzarches and Thomas de Cormont, both of whom worked on the designed of the Chapelle de la Vierge in Amiens. There has also been some difficulty in nailing down exactly when Sainte-Chapelle was built, but researchers have been able to come up with it being sometime between 1241 and 1243. 

The chapel building itself is a double structure and it is linked to royal apartments by way of a roofed gallery. It had been one of the highest buildings in Paris, after Notre-Dame de Paris, standing at approximately 108 feet tall. The overall size of the chapel was kept to a rather modest space, but its slim design made it seem taller and bigger than it actually was. Since it was not a pilgrimage site, ambulatory aisles and radiating chapels were omitted from the design plan. Its roof is made of slate, topped with a large spire made from cedar.

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The upper level chapel, or chapelle haute, was meant for private use by Louis and the royal family, as well as to house the Kings' Passion collection. It was consecrated by the Pope's envoy, Eudes of Châteauroux, in April 1268, and dedicated to the Holy Cross. It is made up of four bays and a seven section choir. Its surface masonry reduced to the absolute minimum; instead, soaring stained glass windows act as its walls. Its ceiling appears to be supported by the stained-glass, making this magical space feel like being on the inside of a jewel. In a leaflet from the Centre des Monuments Nationeaux (Center for National Monuments) describes the upper chapel as such:

 "The ceiling seems to float above the stained-glass windows. The massive buttresses have all but disappeared, masked by clusters composed of nine delicate columns, so placed that the mass of each pillar is barely perceptible."

At its center there had been a magnificent gold and silver shrine, the place of the relics of The Passion. They were enclosed in a large, ornately decorated reliquary, called a Grand Châsse (which no longer exists, as it was melted down  for use in making weapons for the French Revolution...gasp, gulp 😮), and placed at the back of the apse. (Note: these relics no longer reside at Ste. Chapelle. In 1806, they were moved to Notre-Dame de Paris, and are now in storage as restoration work begins following the April 2019 fire.)

{Image: "Choir with Grande Chasse in Background". From "Sainte Chapelle Gospels" illuminated manuscript. The artist was Master of the Registrum Gregorii, an anonymous tenth-century scribe and illuminator, c 977-993}

The lower level chapel, or chapelle basse, was dedicated to the Virgin Mary by Pierre Berruyer, the Archbishop of Bourges. It served as both a parish center and chapel for Louis' household staff. It also acted as a structural base for the immense chapel above, its solid walls and low vaults anchoring the entire structure. 

This space was more modest compared to the upper chapel, but elegant in its own right. Its vaulted ceiling of only 21 feet, is decorated to resemble a starry sky. The main space is divided into a nave and side aisles, all vaulted at the same height. Arched columns are decorated with nature-themed carvings and medallions adorned with fleur-de-lis, representing the monarchy.

 

 

Rose Colored Glasses 

 

The upper chapel is home to one of the oldest and greatest treasures of stained glass art in Europe, many of which date back to the 13th century. Its windows were created by the same master craftsman who did the windows at Chartres. There are 15 towering windows, 50 feet tall and 15 feet wide, depicting 1,113 scenes, easily making it the crown jewel of the chapel. (Today there are approximately 720 original panes of glass remaining in the windows.)

The individual windows are made up of over 100 sections of stained glass. Each piece of glass is assembled scene by scene and held together with strips of channeled lead. They are then subdivided with intricate bar tracery. Every grouping has four lancets topped by three rose windows, except in the choir, which only has two lancets.

It boggles the mind that such a soaring space made mostly of glass doesn’t just collapse. BUT, that’s where the pointed vaults come in! Remember, they are a hallmark of the Gothic architectural style. The convergence of the pointed arches at the ceiling create the most beautiful shapes and shadows, which are highlighted by a dark blue and gold-starred pattern that resembles the night sky, similar to that in the lower chapel.

Interestingly, only five colors are used in the stained glass windows – blue (from cobalt), red and green (from copper), purple (from manganese) and yellow (from antimony). The colors seem to just blend together, forming a rainbow mosaic of color. The windows relate stories from the books of the Bible from Genesis to the Book of Revelation.  Its iconography is as follows:

1. Genesis – the creation story, followed by the story of Adam and Eve.
2. Exodus – the flight of the Israelites from Egypt, including the parting of the Red Sea.
3. Numbers – the march out of Egypt and the coronation of the Kings of Israel.
4. Deuteronomy/Joshua – the struggle against idolotry, the naming of Joshua as the successor of Moses and the settlement of the Jews in the promised land.
5. Judges – the story of Samson and Delilah.
6. Isaiah – the first and longest of the prophetic books of the Bible in which the vision of the tree of Jesse prophesied the genealogy of Jesus Christ, Jesse’s son, King David and the Virgin Mary.
7. St John the Evangelist and the Childhood of Christ – St John, one of the closest observers of the life of Christ, which explains the presence of the window depicting Christ’s childhood.
8. Christ’s Passion – One of the most important windows of Sainte Chapelle, just behind the raised altar. This window shows the Last Supper through to the Pentecost, with the crowning of thorns in the center.
9. John the Baptist/Daniel – John the Baptist was one of the last preachers to predict the coming of Christ, the Lamb of God, and His sacrifice. The scenes featuring Daniel again focus on the struggle against idol worship.
10. Ezekiel – Like Isaiah and Daniel, the book of Ezekiel also takes on the theme of idol worship, and is followed by the destruction of Jerusalem
11. Jeremiah and Tobias – the visions of Jeremiah depicts the fall of Jerusalem and the book of Tobias is an enlightening story that seemed of particular importance to Louis.
12. Judith/Job* – Judith tells the story of this Jewish widow who saved the town of Bethulia from the siege of the Assyrians by beheading their general. Job tells the story of how his faith never wavered when tempted by Satan. (*The Book of Judith doesn't appear in most common translations of the Holy Bible.)
13. Esther – Esther’s story is featured above the niche where Queen Blanche of Castille, Louis's mother, used to sit, drawing parallels between the two heroines.
14. Kings – Depicts the scenes from Kings I and II and Samuel I and II, which tell the story of the Kings of Israel, particularly Saul, David and Solomon.
15. The Story of the relics of the passion – This window continues the theme to show Louis as the legitimate successor to the Biblical kings. It depicts the finding of the relics and the true cross in Jerusalem by St Helena, their journey to Byzantium, their purchase by Louis and their final resting place in Sainte-Chapelle.
16. St John’s vision of the Apocalypse – This is depicted on the rose window facing West in line with the setting of the sun.

The window wasn't added until 1490, designed in the Flamboyant (or flame-like) style and has 87 "petals".

From the French Revolution and onwards.......

 

Sainte-Chapelle was fairly well preserved during the French Revolution as it had been used for administrative offices. Luckily, the windows were blocked by huge filing cabinets which helped  to protect them during the Revolution. Unfortunately, most of Louis' collection of holy relics were either lost or destroyed. The few pieces that had been found after the Revolution were brought to the treasury of Notre-Dame Cathedral. Architects Felix Duban and Jean-Baptiste Lassus began restoration of the chapel some time after 1803. Eugène Viollet-le-Duc was commissioned to rebuild the spire atop the chapel using his own design, as the original one had been removed during the revolution. The restoration was completed in 1836 by Emile Boeswillwald.

Since then, Sainte-Chapelle has been in  various stages of restoration. The ravages of modern life such as air pollution, the elements and the large number of visitors caused damage to the stained glass windows. In 1945, in an effort to preserve the stained glass, a layer of external varnish had been applied to protect them from the dust and scratches of wartime bombing. Unfortunately, the varnish had gradually darkened the images and the windows themselves, making the already fading images even harder to see.

In 2008, a broad seven-year plan for restoration was begun. Its purpose was to clean and preserve all the stained glass, clean the facade stonework and conserve and repair some of the sculptures. Also included in the restoration plan and budget was a new thermoformed glass layer that would be applied to the exterior of the stained glass windows, giving them further protection. That project was completed in 2015, in time for the 800th anniversary of the birth of Louis IX, who had ordered the construction of the church.

 Footnotes:

1. https://ahlstromappraisals.com/art-history-blog/sainte-chapelle-a-chapel-fit-for-a-king