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Earthlore Introduction | Earthlore Contents | Gothic Introduction | Gothic Contents | E-mail
 
Notre Dame de Paris Timeline 1160 Maurice de Sully proclaims the vision of the cathedral 1163 Cornerstone laid, construction begins 1182 Apse and Choir completed 1196 Death of Maurice de Sully, completion of the Nave 1200 Eudes de Sully begins work on the western facade 1225 Western facade and Rose window completed 1250 Western towers and northern Rose window completed 1250 - 1300 Remaining elements completed 1699 Reconstruction of main altar begun 1741 Stained glass windows removed 1845 Viollet-le-Duc begins major restoration 1864 Restoration completed  The Nave of Notre Dame de Paris. Historic Events 1185 Heraclius calls for the Third Crusade from the Notre Dame 1338 - 1453 The 100 Years War 1431 Henry VI crowned King of France within Notre Dame |
  In
thinking of Gothic architecture, our thoughts always ascend. For that
which embodies Gothic style most is lofty; Rose windows of stained glass,
ornately crafted spires, and the guardians of grand cathedrals, the Gargoyles.
Each is distinctly Gothic, and all distinctly Notre Dame de Paris.
Many diversified characteristics will help identify
a structure as Gothic: ogee archways, ribbed vaults, and the wondrous
flying buttresses are a few. Yet, it is always the craft placed high above,
which captures our eyes and imaginations most effectively. Since all works
of religious art rise beyond mere artistic expression, bearing potent
symbolic reference, we must accept that our attention was intended
to be focused upwards. Within the span of the passing centuries, the cathedrals
of the Middle Ages themselves rise up above other cultural achievements.
At the center of these towering legacies resides Notre Dame de Paris,
'Our Lady.'
It
does not belittle other cathedrals to refer to Notre Dame de Paris
as the 'World Ambassador of Gothic Cathedrals.' History's winding ways
have already decreed as much. For many, their first concept of Gothic
derives from some reference to this grand structure. It matters not whether
we have physically visited Notre Dame, its persona dominates the Gothic
landscape. Victor Hugo's famous novel featuring the moving characterization
of the hunchback, Quasimodo, has served the notoriety of the cathedral
well. Yet, factual history has claimed this aged lady as a prominent figure
near the center stage of its own story. Notre
Dame de Paris, more than seven hundred years old, is only the most
recent of holy houses to occupy this ancient sacred ground. The Celts
held their services on this island in the seine, and atop their sacred
groves the Romans built their own temple to Jupiter. In the early years
of Christianity, a basilica dedicated to St. Etienne was constructed around
528 by Childebert. A church in the Romanesque manner replaced the basilica,
and this stood until 1163 when work began on the structure which stands
today.
Constructed
in three stages, the cathedral was completed in 1250. This period
witnessed Paris coming into its own force as a center of political power
and commerce. No expense was spared in creating a church that would reflect
the capital's newly won prestige. These were the 'development' years of
early Gothic architecture, it was essential that Paris should contain
an impressive cathedral featuring innovations to surpass such smaller
towns as Sens and Noyon. An advantage which Paris possessed over other
sites, was that the construction efforts were supported and encouraged
by the the king, Louis VII.King
Louis VII must be considered among the handful of influential figures during the
rise of the Gothic style in France. It is certain that without the influence of the
King's support, Abbot Suger would never have realized his vision of reconstructing
Saint-Denis. At the Abby of Saint-Denis, the sparks of inspiration were kindled which
would ignite the fires of the cathedral building age. Some twenty years later, the
king lent this same support to the construction of the new cathedral of Paris. Louis
supported the work with generous and gracious contributions. Clearly he had motivations
for strengthening France's eminence as the stronghold of Christendom, but his piety
must be considered authentic in the perspective of history. |
| 1548 Huguenots damage features of cathedral following the council of Trent 1558 The Dauphin Francis weds Mary Stuart at Notre Dame 1572 Henry of Navarre weds Marguerite of Valois, days before the August 24 massacre of the Huguenots 1793 Revolutionaries vandalize Notre Dame, tearing down the gallery of kings and removing all valuables |
The
early twelfth century was a time of great activity and excitement
within Europe. The Church was in a state of great transformation due to
the reforms of Pope Gregory VII. The monasteries as the primary avenue
of distribution for the new order, directed by Bernard of Clairvaux, were
centers of learning and creativity.  The
First Crusade was underway and the holy city of Jerusalem had been taken
from the very heart of Islam. Within the swirl of these influences arose
the new abbey of Saint-Denis. Visiting bishops took home with them inspirations
for new cathedrals of their own. In the following decades these visions
arose as a wondrous reality across France.Witnessing
the early development of Saint-Denis was a subdeacon of Paris, Maurice de Sully.
In 1159 he became archdeacon, with building ambitions of his own, and scantly one
year later was elected Bishop. Almost immediately, Maurice went to work organizing
resources for the commencement of the cathedral's construction. Funds were raised,
crews were gathered and the site was cleared of surrounding buildings. In just three
years from his consecration, the cornerstone was laid and full production began. |
| On
the 2nd of December, the ceremony of the coronation took place in
the ancient cathedral of Notre Dame, with the addition of every ceremony
which could be devised to add to its solemnity. The Emperor
took his coronation oath, as usual on such occasions, with his hands
up on the scripture, and in the form in which it was repeated to him
by the Pope. But not even from the head of the Catholic Church
would Bonaparte consent to receive as a boon the golden symbol of
sovereignty, which he was sensible he owed solely to his own unparalleled
train of military and civil successes. The crown having been blessed
by the Pope, Napoleon took it from the altar with his own hands, and
placed it on his brows. He then put the diadem on the head of his
Empress. Te Deum was sung; the heralds, proclaimed, "that
the thrice glorious and thrice august Napoleon, Emperor of the French,
was crowned and installed." —Sir. Walter Scott, Life of Napoleon Bonaparte |
Throughout
northern France, at this time, churches and cathedrals were rising
up in several towns. It was not hard to secure skilled crews from professional
guilds for the site in Paris. Organized teams of workers would migrate
from town to town according to the stage of construction which required
their expertise. As
for the raw material for the building itself, this too was readily
available from local sources. The region surrounding Paris was rich in
a variety of quality stone. The majority of material used in Notre Dame
was taken from nearby quarries.  Still,
transporting stone was costly, even over a short distance. To economize
weight, much of the cutting and rough preparation of the blocks was accomplished
at the quarry sites. Final dressing of the stone elements was executed
within the masons' lodge, adjourning the cathedral.We
do not know the name of the first master mason of Notre Dame de
Paris. (The term: Architect, did not come into use until centuries
later.) From the quality and consistency of the work during this early
period, we can accept that the bishop had found someone quite capable
of overseeing the realization of his intention. To his own credit,
Maurice proved to be a competent overseer of the works. The books
remained balanced through the production, maintaining a steady and
methodical level of growth. The choir, apse and chancel were completed
first so that there would be a place for services though the later
stages of construction.The
subsequent phases of the works were to realize the grand scale of
the bishop's original vision. The aims of Paris would push many of the
limits of the new style beyond anything yet attempted. The breadth of
the vaults and their height would surpass all previous achievements. An
important innovation at Paris was the combination of triangular ribs with
subtle transverse arches. The result of this technique was to open wide
the interior of the cathedral without the visual interruption of supporting
elements. This achievement is impressive to view even by contemporary
perspectives. By
the time of Maurice's death in 1196, the nave had been completed and
the cathedral was well on the way of rising to its full, intended glory.
Within the following fifty years the remaining elements would be finished
without major interruption. What extended the date of the completed cathedral
was the intervention of Maurice's successor Bishop Eudes de Sully. (The
similarity of the name indicates that the two bishops were born in the
same town, there was no relation between them.) |
| Photographic Features of Notre Dame de Paris |
| Images Will Open in a Separate Window |
Vista
of Paris from atop Notre Dame -
45k
Vista
of Notre Dame from the Southwest - 50k
View
of Notre Dame from Southeast - 95k
Vista
of Notre Dame from the Seine - 50k
|
Interior
of the North rose window - 165k
View
of the West facade, 1890s - 50k
Vista
from the Southeast, 1890s - 40k
View
of the Barricades, 1870s - 48k |
| 1804 Napoleon crowned as emperor of France within Notre Dame 1871 The cathedral is set on fire during the commune 1909 The beatification of Joan of Arc held in Notre Dame  The South Tower in the West. Visitor Information 6 place du Parvis de Notre Dame 75004 Paris Metro stop: Cité Telephone: 43.26.07.39 The cathedral is open to the public seven days a week until 6pm. There is no entry fee to the building itself, however a charge of a few euros is required for access to the towers. Note: The upper levels are accessible by a narrow, steep stairwell only. Not recommended for the faint of heart or those with an aversion to small spaces. The Paris Office of Tourism Official Site  North Rose Window Further Earthlore Resources Theme Introduction Content Directory Glossaries 'Must know' Terms Cathedral Components Unique Features Structural Design Decoration & Motif Expression & Technique Art Periods & Styles
resourcesStay
informed! |
Unlike
his predecessor, Eudes was a wealthy noble, and contributed a good
deal of funds to the cathedral works. It was within the bishop's means
to enlarge on the original designs, and he did so. This was most evident
in the west facade which took twenty five years to complete up to the
level of the rose window. It would take yet another twenty five years
to finish the twin towers.The
remaining elements of the cathedral were accomplished over the following
five decades; the north rose, the transept facades and the chapels of
the ambulatory. The expansion to the west facade excluded, the finished
cathedral was true to its original design, it would remain so until the
end of the seventeenth century. Under the reign of Louis XIV the cathedral's
original form suffered greatly. Four hundred years had passed since Notre
Dame was completed. Naturally styles and tastes had changed a great deal
during the centuries. The manner known now as 'Gothic' in a negative sense,
was perceived as crude and barbaric at best. Within an effort to adapt
the cathedral to Baroque standards, stained glass was smashed out, tombs
were destroyed and a new high altar was constructed. As a finish, after
fifteen years of reconstruction, the interior of the cathedral was completely
whitewashed.
The
succeeding centuries were equally unkind to the Lady of Paris. During
the Revolution, a great deal of the features of the cathedral were stolen
defaced. Churches and cathedral throughout France were rededicated to
the cult of Reason. Just prior to the Revolution, countless ornaments,
sculptures and gargoyles were removed because contemporary architects
found them tasteless. This great destruction paled by comparison to what
occurred during the height of the Revolution. After all the wealth had
been stripped from away, all traces of religion and monarchy were ordered
removed. Perhaps the greatest destruction was the pulling down and smashing
of the gallery of kings. In an act of ringing of primitive tribalism,
the heads of the statues were distributed like war trophies amongst the
communes of Paris. The broken bodies lay in pieces for before the shamed
lady for three years before they were removed to the city coal yards.
For the following years the cathedral was utilized primarily for secular
gatherings and commemorations.It
would not be until the full passion of the Romantic movement swept
across France, in the mid nineteenth century, that a sincere restoration
was undertaken. The hearts of the Romantic era prized works of the past
which were felt as distant reminders of a more meaningful life than could
be apprehended through modern lifestyles. One of the movements young stars
is still very much associated with the grand lady of Paris, though many
today are not aware of how significant a role he played in its rescue.
Victor
Hugo was just twenty eight years old when he wrote his novel: Notre
Dame de Paris. (Later known as The Hunchback of Notre Dame.) Set in the
medieval period, it tells the story of the deformed Quasimodo, ward of
the cathedral, and his ill-fated love for the beautiful Gypsy dancer,
Esmeralda. Published in 1831, the novel held up architecture in a noble
light. Through the eyes of this young, impassioned writer, the cathedrals
of the middle ages were 'books in stone,' works to be treasured and cared
for. He showed no restraint for attacking the indignities that had been
heaped upon Notre Dame over the centuries. What he could not have foreseen,
was the fertility of the popular mind, at this time, for such a message.
The novel achieved widespread acceptance, sparking a keen interest in
the fate of the cathedral.Among
the audience captured by Hugo's tale, was a young man who had just entered school
for the study of architecture. Eugène Emmanuel Viollet-le-Duc, a talented, young Parisian,
was to become the commander of this growing crusade for restoring and preserving the
wonders of an elder Paris.
|
Bibliography
Dictionnaire raisonné de l'architecture
française du XIe au XVIe siècle,
E.
Viollet-le-Duc, Paris (1858-68)
Notre Dame de Paris, Jean
Roubier, Challamel, Paris (1954)
The Gothic Cathedral, Otto
von Simson, Pantheon, NY (1956)
Notre-Dame of Paris, Allan
Temko , Viking, NY (1959)
The Cathedral Builders, Jean
Gimpel, Grove Press, NY (1961)
Gothic Architecture, Robert
Branner, G. Braziller, NY (1961)
High Gothic, Hans
Jantzen , Pantheon, NY (1962)
Notre Dame de Paris & the Ste.
ChapelleYves
Bottineau, Rand McNally and Co. (1967)
The Age of the Cathedrals, Art
and Society 980-1420,Georges Duby, London (1981)
French Gothic Architecture of the 12th
and 13th Centuries, J.
Bony , Berkeley (1983)
The Gothic Cathedral, C.
Wilson , Thames
& Hudson (1990)
The Art of Gothic, Könemann
Verlagsgesellschaft mbH, (1999)
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| Development & Production Credits |
| Theme
Editor : Nicole Blackford —
Primary Text : Rhey Cedron Art Direction : Thierry Alberto — Art Research : Malcom Hurrell Principal Photography : Rhey Cedron Structural Design : Mark Nelson — Research Assistant : Walter McCrae Support Production : Henry Craig, Joan Flandrin, Clara Kelly |
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