Notre Dame de Paris


Notre Dame de Paris
Cathédrale Notre-Dame de Paris

Notre Dame de Paris: Western Facade with westwork

Basic information
Location 6 Parvis Notre-Dame, Place Jean-Paul II, 75004 Paris, France
Geographic coordinates 48°51′11″N 2°20′59″E / 48.8530°N 2.3498°E / 48.8530; 2.3498Coordinates: 48°51′11″N 2°20′59″E / 48.8530°N 2.3498°E / 48.8530; 2.3498
Affiliation Roman Catholic
Region Île-de-France
Province Archdiocese of Paris
Ecclesiastical or organizational status Cathedral
Status Active
Heritage designation 1862
Leadership André Vingt-Trois
Website www.notredamedeparis.fr
Architectural description
Architectural type Church
Architectural style French Gothic
Direction of façade West
Groundbreaking 1163 (1163)
Completed 1345 (1345)
Specifications
Length 128 metres (420 ft)
Width 69 metres (226 ft)
Monument historique
Official name: Cathédrale Notre-Dame
Designated: 1862
Reference #: PA00086250[1]
Denomination: Église
Notre Dame de Paris from the Seine
The east end of Notre Dame showing the flying buttresses and various other Gothic architectural elements
Notre Dame de Paris: exterior of the apse
Flying buttress

Notre Dame de Paris (IPA: [nɔtʁ dam də paʁi]; French for Our Lady of Paris), also known as Notre Dame Cathedral,[2] is a Gothic, Roman Catholic cathedral on the eastern half of the Île de la Cité in the fourth arrondissement of Paris, France. It is the cathedral of the Catholic Archdiocese of Paris: that is, it is the church that contains the cathedra (official chair) of the Archbishop of Paris, currently André Vingt-Trois. The cathedral treasury houses a reliquary with the purported Crown of Thorns.

Notre Dame de Paris is widely considered one of the finest examples of French Gothic architecture in France and in Europe, and the naturalism of its sculptures and stained glass are in contrast with earlier Romanesque architecture. The first period of construction from 1163 into 1240s coincided with the musical experiments of the Notre Dame school.

Jean de Jandun recognized the cathedral as one of Paris's three most important buildings in his 1323 "Treatise on the Praises of Paris":

that most terrible church of the most glorious Virgin Mary, mother of God, deservedly shines out, like the sun among stars. And although some speakers, by their own free judgment, because [they are] able to see only a few things easily, may say that some other is more beautiful, I believe however, respectfully, that, if they attend more diligently to the whole and the parts, they will quickly retract this opinion. Where indeed, I ask, would they find two towers of such magnificence and perfection, so high, so large, so strong, clothed round about with such a multiple variety of ornaments? Where, I ask, would they find such a multipartite arrangement of so many lateral vaults, above and below? Where, I ask, would they find such light-filled amenities as the many surrounding chapels? Furthermore, let them tell me in what church I may see such a large cross, of which one arm separates the choir from the nave. Finally, I would willingly learn where [there are] two such circles, situated opposite each other in a straight line, which on account of their appearance are given the name of the fourth vowel [O] ; among which smaller orbs and circlets, with wondrous artifice, so that some arranged circularly, others angularly, surround windows ruddy with precious colors and beautiful with the most subtle figures of the pictures. In fact I believe that this church offers the carefully discerning such cause for admiration that its inspection can scarcely sate the soul.

—Jean de Jandun, Tractatus de laudibus Parisius[3]

The cathedral suffered desecration during the radical phase of the French Revolution in the 1790s, when much of its religious imagery was damaged or destroyed. An extensive restoration supervised by Eugène Viollet-le-Duc removed remaining decoration, returning the cathedral to an 'original' gothic state.

Contents

Architecture

Notre Dame de Paris was among the first buildings in the world to use the flying buttress (arched exterior supports). The building was not originally designed to include the flying buttresses around the choir and nave. After the construction began and the thinner walls (popularized in the Gothic style) grew ever higher, stress fractures began to occur as the walls pushed outward. In response, the cathedral's architects built supports around the outside walls, and later additions continued the pattern. The cathedral was essentially complete by 1345.

Construction

In 1160, because the church in Paris had become the "Parisian church of the kings of Europe", Bishop Maurice de Sully deemed the previous Paris cathedral, Saint-Étienne (St Stephen's), which had been founded in the 4th century, unworthy of its lofty role, and had it demolished shortly after he assumed the title of Bishop of Paris. As with most foundation myths, this account needs to be taken with a grain of salt; archeological excavations in the 20th century suggested that the Merovingian Cathedral replaced by Sully was itself a massive structure, with a five-aisled nave and a facade some 36m across. It seems likely therefore that the faults with the previous structure were exaggerated by the Bishop to help justify the rebuilding in a newer style. According to legend, Sully had a vision of a glorious new cathedral for Paris, and sketched it on the ground outside the original church.

To begin the construction, the bishop had several houses demolished and had a new road built in order to transport materials for the rest of the cathedral. Construction began in 1163, during the reign of Louis VII, and opinion differs as to whether Sully or Pope Alexander III laid the foundation stone of the cathedral. However, both were at the ceremony in question. Bishop de Sully went on to devote most of his life and wealth to the cathedral's construction. Construction of the choir took from 1163 until around 1177 and the new High Altar was consecrated in 1182 (it was normal practice for the eastern end of a new church to be completed first, so that a temporary wall could be erected at the west of the choir, allowing the chapter to use it without interruption while the rest of the building slowly took shape). After Bishop Maurice de Sully's death in 1196, his successor, Eudes de Sully (no relation) oversaw the completion of the transepts and pressed ahead with the nave, which was nearing completion at the time of his own death in 1208. By this stage, the western facade had also been laid out, though it was not completed until around the mid 1240s.[4]

The cathedral illuminated at night.

Over the construction period, numerous architects worked on the site, as is evidenced by the differing styles at different heights of the west front and towers. Between 1210 and 1220, the fourth architect oversaw the construction of the level with the rose window and the great halls beneath the towers.

The most significant change in design came in the mid 13th century, when the transepts were remodeled in the latest Rayonnant style; in the late 1240s Jean de Chelles added a gabled portal to the north transept topped off by a spectacular rose window. Shortly afterwards (from 1258) Pierre de Montreuil executed a similar scheme on the South transept. Both these transept portals were richly embellished with sculpture; the south portal features scenes from the lives of St Stephen and of various local saints, while the north portal featured the infancy of Christ and the story of Theophilus in the tympanum, with a highly influential statue of the Virgin and Child in the trumeau.[5]

Timeline of construction

  • 1160 Maurice de Sully (named Bishop of Paris), orders the original cathedral demolished.
  • 1163 Cornerstone laid for Notre Dame de Paris—construction begins.
  • 1182 Apse and choir completed.
  • 1196 Bishop Maurice de Sully dies.
  • c.1200 Work begins on western facade.
  • 1208 Bishop Eudes de Sully dies. Nave vaults nearing completion.
  • 1225 Western facade completed.
  • 1250 Western towers and north rose window completed.
  • c.1245–1260s Transepts remodelled in the Rayonnant style by Jean de Chelles then Pierre de Montreuil
  • 1250–1345 Remaining elements completed

Alterations, vandalism and restorations

1853 photo by Charles Nègre of Henri Le Secq next to le Stryge in the then-new Gallery of Chimeras.

In 1548, rioting Huguenots damaged features of the cathedral, considering them idolatrous. During the reigns of Louis XIV and Louis XV, the cathedral underwent major alterations as part of an ongoing attempt to modernize cathedrals throughout Europe. A colossal statue of St Christopher, standing against a pillar near the western entrance and dating from 1413, was destroyed in 1786. Tombs and stained glass windows were destroyed. The north and south rose windows were spared this fate, however.

In 1793, during the French Revolution, the cathedral was rededicated to the Cult of Reason, and then to the Cult of the Supreme Being. During this time, many of the treasures of the cathedral were either destroyed or plundered. The statues of biblical kings of Judah (erroneously thought to be kings of France) were beheaded. Many of the heads were found during a 1977 excavation nearby and are on display at the Musée de Cluny. For a time, Lady Liberty replaced the Virgin Mary on several altars. The cathedral's great bells managed to avoid being melted down. The cathedral came to be used as a warehouse for the storage of food.

A controversial restoration program was initiated in 1845, overseen by architects Jean-Baptiste-Antoine Lassus and Eugène Viollet-le-Duc. The restoration lasted twenty five years and included the construction of a flèche (a type of spire) as well as the addition of the chimeras on the Galerie des Chimères. Viollet le Duc always signed his work with a bat, the wing structure of which most resembles the Gothic vault (see Château de Roquetaillade).


In 1991, a major program of maintenance and restoration was initiated, which was intended to last ten years, but is still in progress as of 2009, the cleaning and restoration of old sculptures being an exceedingly delicate matter.

Organ

View from the south

Though several organs were installed in the cathedral over time, the earliest ones were inadequate for the building. The first noteworthy organ was finished in the 18th century by the noted builder François-Henri Clicquot. Some of Clicquot's original pipework in the pedal division continues to sound from the organ today. The organ was almost completely rebuilt and expanded in the 19th century by Aristide Cavaillé-Coll.

The position of titular organist ("head" or "chief" organist) at Notre-Dame is considered one of the most prestigious organist posts in France, along with the post of titular organist of Saint Sulpice in Paris, Cavaillé-Coll's largest instrument.

The organ has 7,800 pipes, with 900 classified as historical. It has 111 stops, five 56-key manuals and a 32-key pedalboard. In December 1992, a two year restoration of the organ was completed that fully computerized the organ under three LANs (Local Area Networks). The restoration also included a number of additions, notably two further horizontal reed stops en chamade in the Cavaille-Coll style. The Notre Dame organ is therefore unique in France in having five fully independent reed stops en chamade.

Grandes Orgues

Organists

Among the best-known organists at Notre Dame was Louis Vierne, who held this position from 1900 to 1937. Under his tenure, the Cavaillé-Coll organ was modified in its tonal character, notably in 1902 and 1932.

Léonce de Saint-Martin held the post between 1932 and 1954.

Pierre Cochereau initiated further alterations (many of which were already planned by Louis Vierne), including the electrification of the action between 1959 and 1963. The original Cavaillé-Coll console, (which is now located near the organ loft), was replaced by a new console in Anglo-American style and the addition of further stops between 1965 and 1972, notably in the pedal division, the recomposition of the mixture stops, a 32' plenum in the Neo-Baroque style on the Solo manual, and finally the adding of three horizontal reed stops "en chamade" in the Spanish style.

After Cochereau's sudden death in 1984, four new titular organists were appointed at Notre Dame in 1985: Jean-Pierre Leguay Olivier Latry, Yves Devernay (who died in 1990), and Philippe Lefebvre This was reminiscent of the 18th-century practice of the cathedral having four titular organists, each one playing for three months of the year.

Bells

There are five bells at Notre Dame. The great bourdon bell, Emmanuel, is located in the South Tower, weighs just over 13 tons, and is tolled to mark the hours of the day and for various occasions and services. There are four additional bells on wheels in the North Tower, which are swing chimed. These bells are rung for various services and festivals. The bells were once rung manually, but are currently rung by electric motors. When it was discovered that the size of the bells could cause the entire building to vibrate, threatening its structural integrity, they were taken out of use. The bells also have external hammers for tune playing from a small clavier.

In the night of 24 August 1944, as the Île de la Cité was taken by an advance column of French and Allied armoured troops and elements of the Resistance, it was the tolling of the Emmanuel that announced to the city that its liberation was under way.

Significant events

Coronation of Napoleon I on Sunday 2 December 1804, at Notre Dame, in a 1807 painting by Jacques-Louis David

A series of articles on
Roman Catholic
Mariology

Raphael - Madonna dell Granduca.jpg

General articles
Overview of Mariology
Veneration of the Blessed VirginHistory of Mariology

Expressions of devotion
ArtHymnsMusic • Architecture

Specific articles
Apparitions • SaintsPopesSocieties • Hearts of Jesus & Mary • Consecration to Mary

The cathedral is renowned for its Lent sermons founded by the famous Dominican Jean-Baptiste Henri Lacordaire in the 1860s. In recent years, however, an increasing number have been given by leading public figures and state employed academics.

Popular Culture

Because of its beauty, history, and global fame, Notre-Dame has featured prominently in the arts, across multiple genres.

  • Victor Hugo used it as the primary setting of his legendary novel, The Hunchback of Notre Dame, as it is used in all films based on the novel.
  • The American film Sergeant York mentions the cathedral in narration provided by the titular character, derived from the real Alvin York's letters home to his family during WWI, in one of which he mentions, "They have a church here you could plant a crop of corn in."
  • The 2008 action film Taken, starring Liam Neeson features Neeson's character standing atop one of the belltowers while he makes a phone call.

Gallery

See also

References

  1. ^ Mérimée database 1993
  2. ^ Notre Dame, meaning "Our Lady" in French, is frequently used in the names of churches including the cathedrals of Chartres, Rheims and Rouen.
  3. ^ Erik Inglis, "Gothic Architecture and a Scholastic: Jean de Jandun's Tractatus de laudibus Parisius (1323)," Gesta, XLII/1 (2003), 63–85.
  4. ^ Caroline Bruzelius, The Construction of Notre-Dame in Paris, in The Art Bulletin, Vol. 69, No. 4 (Dec., 1987), pp. 540–569.
  5. ^ Paul Williamson, Gothic Sculpture, 1140–1300, Yale University Press, 1995.
  6. ^ Hiatt, Charles, Notre Dame de Paris: a short history & description of the cathedral, (George Bell & Sons, 1902), 12.
  7. ^ (English) Daniel Stone (2001). The Polish–Lithuanian State, 1386–1795. Warsaw: University of Washington Press. pp. 119. ISBN 02-95980-93-1. http://books.google.pl/books?id=LFgB_l4SdHAC&pg=PA119&lpg=PA119&dq=notre+dame+paris+pacta+conventa&source=web&ots=QiCLWvGmkD&sig=9L4_FPgS3U2FNrTx-ckFb5xSY0k&hl=pl&sa=X&oi=book_result&resnum=3&ct=result. Retrieved 23 July 2008. 

Bibliography

External links


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