NotreDamedeParis.doc

Notre Dame de ParisIn 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. Historys 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 Hugos 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 capitals 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 Kings 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 Frances eminence as the stronghold of Christendom, but his piety must be considered authentic in the perspective of history.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 cathedrals 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. 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 bishops 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 su