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Arts & Entertainment
Perspective

Perspective Discussion of news topics with a point of view, including narratives
by individuals regarding their own experiences.


THE BATTLE FOR NOTRE DAME


AS THE CATHEDRAL RISES FROM THE ASHES, A TUG OF WAR OVER ITS TRANSFORMATION

By Philip Kennicott

Philip Kennicott
Art and architecture critic
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| Graphics by Aaron Steckelberg

Aaron Steckelberg
Senior graphics editor
Email Bio
Jan. 16, 2020

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PARIS — Earlier this month, the French general tasked with overseeing the
restoration of Notre Dame confirmed some terrible news: Even now, nine months
after a catastrophic fire in April destroyed the cathedral's spire, roof and
some of its vaults, its fate remains uncertain. "The cathedral is still in a
state of peril," Jean-Louis Georgelin told the French broadcaster CNews.

There has been renewed anguish in France. The holidays passed without a
Christmas Mass in the beloved national icon or a Christmas tree on the public
square outside its richly decorated west facade. When I visited in October, I
passed by only once, and it was painful to see the great church off-limits. The
writer Hilaire Belloc once described Notre Dame as a matriarch whose authority
is familiar, tacit and silent. But she now seems not just reticent, but mute.



As the public commission headed by Georgelin met for the first time in December,
it was clear that the country was still far from any consensus on how the
cathedral will be restored. Weeks earlier, Philippe Villeneuve, chief architect
of the country’s historic monuments service, said in a broadcast interview that
he would resign rather than allow a modern spire — as proposed by French
President Emmanuel Macron — to be built atop the cathedral’s roof. In response,
Georgelin told the architect to “shut his gob.”

That comment made international news, although in France it wasn’t out of
character for public discussion of architecture and preservation.

Parisians fish on the banks of the Seine river in Paris near the Ile de la Cité,
the island on which Notre Dame sits, on the first Sunday of spring in 1947.
(Agence France-Presse/Getty Images)

Onlookers stand by as flames engulf the roof of Notre Dame on April 15.
(Geoffroy van der Hasselt/Agence France-Presse/Getty Images)

Parisians fish on the banks of the Seine river in Paris near the Ile de la Cité,
the island on which Notre Dame sits, on the first Sunday of spring in 1947.
(Agence France-Presse/Getty Images) Onlookers stand by as flames engulf the roof
of Notre Dame on April 15. (Geoffroy van der Hasselt/Agence France-Presse/Getty
Images)

“This debate is classic,” Philippe Barbat, director general of heritage at the
French Ministry of Culture, said in an interview last fall. “Do we restore it as
close as possible to what we understand by analyzing the historical context of
the building, or do we try to make something more creative?” Barbat cites the
glass pyramid at the Louvre, designed by I.M. Pei as a modernist intervention at
the heart of one of the city’s sacred cultural spaces, as an example of the
latter.

And change is classic, too. Although there have been centuries during which the
architecture of Notre Dame stayed mostly the same, especially after the major
construction work was finished in the middle of the 13th century, it has
undergone major transformations throughout its history. As France, and much of
the rest of the world, contemplates what will become of the grand cathedral,
it’s clear that the final result will be an amalgam: of history and fantasy, the
12th century and the 21st, the imaginary building seen in art and described in
literature, and a pile of stones that has been made and remade for almost nine
centuries.

On an island in the Seine, in the heart of the ancient city of Paris, the land
where Notre Dame would be built had been devoted to religious worship for
centuries.

In 1160, Maurice de Sully, a brilliant administrator, was elected bishop of
Paris and almost immediately began plans for a large cathedral, dedicated to the
Virgin Mary.

To clear space for Notre Dame, other structures, including the cathedral of
Saint-Étienne, were gradually dismantled.

With King Louis VII and Pope Alexander III in attendance, the first major phase
of construction began with the laying of the cornerstone in 1163.

By 1182, much of the cathedral’s choir — the liturgical core of the building,
then reserved for the clergy — with its iconic flying buttresses supporting its
tall walls and roof, had been completed.

Over the next decades, work on the nave pushed the cathedral’s spine to the
west.

By 1220, the basic form of the early cathedral was essentially finished.

Beginning in the mid-1220s, much of Notre Dame was remade to be more in line
with contemporary architectural tastes. The two western towers were finished and
a spire was added to the crossing of the nave and transept. The last major phase
of the original construction ended in the mid-14th century, more than 150 years
after it had begun.

By the late 18th century, the original spire was removed before it could
collapse from decay.

The cathedral remained without a spire until 1859, when one designed by Eugène
Emmanuel Viollet-le-Duc was added as part of an extensive 20-year renovation.
Over the next 160 years, alterations and repairs continued to be made.

On an island in the Seine, in the heart of the ancient city of Paris, the land
where Notre Dame would be built had been devoted to religious worship for
centuries.

In 1160, Maurice de Sully, a brilliant administrator, was elected bishop of
Paris and almost immediately began plans for a large cathedral, dedicated to the
Virgin Mary.

To clear space for Notre Dame, other structures, including the cathedral of
Saint-Étienne, were gradually dismantled.

With King Louis VII and Pope Alexander III in attendance, the first major phase
of construction began with the laying of the cornerstone in 1163.

By 1182, much of the cathedral’s choir — the liturgical core of the building,
then reserved for the clergy — with its iconic flying buttresses supporting its
tall walls and roof, had been completed.

Over the next decades, work on the nave pushed the cathedral’s spine to the
west.

By 1220, the basic form of the early cathedral was essentially finished.

Beginning in the mid-1220s, much of Notre Dame was remade to be more in line
with contemporary architectural tastes. The two western towers were finished and
a spire was added to the crossing of the nave and transept. The last major phase
of the original construction ended in the mid-14th century, more than 150 years
after it had begun.

By the late 18th century, the original spire was removed before it could
collapse from decay.

The cathedral remained without a spire until 1859, when one designed by Eugène
Emmanuel Viollet-le-Duc was added as part of an extensive 20-year renovation.
Over the next 160 years, alterations and repairs continued to be made.

As Notre Dame has been rebuilt and repaired over the centuries, there have been
many cries of sacrilege. Shortly before the French Revolution, it was
whitewashed, leading one prominent critic to grumble that the edifice had “lost
its venerable color and its imposing darkness that had commended fervent
respect.” And beginning in the 1840s, after decades of little maintenance,
sporadic use and sometimes misguided efforts at repair, it was “restored” so
thoroughly that many historians came to think of it as a 19th-century church,
not a medieval one.

One of the most significant transformations was probably precipitated by a fire
in the 13th century, perhaps similar to the one in 2019, in the roof space above
the vaults. Whether the damage forced the cathedral’s stewards to rebuild, or
was simply a good pretext to update the building, isn’t clear. But the change
was extensive.

Tourists visit Notre Dame in July 2016. French President Macron is likely to be
the one who decides the new form of the cathedral, although it’s unclear how
much he will defer to experts, traditionalist voices, the Catholic Church and
preservationists. (Matthieu Alexandre/Agence France-Presse/Getty Images)

“Having been around for a mere sixty years, Notre Dame had already been
eclipsed,” Dany Sandron of the Sorbonne and the late Andrew Tallon of Vassar
write in a forthcoming book about the cathedral, based in part on their
comprehensive laser measurement of Notre Dame before the 2019 fire. Elsewhere,
in 13th-century France, new cathedrals were being built, and old ones
disassembled and reconstructed, to make them taller, lighter and more vertical,
and to introduce more light, as if they were made from taut curtains of glass,
not heavy columns of stone. And so Notre Dame’s clerestory windows were
enlarged, the roofs changed and the flying buttresses reconstructed, although
the cathedral remained relatively dark despite its fashionable update.

The second radical transformation dates, in part, to 1831, when Victor Hugo
published the novel known in English as “The Hunchback of Notre Dame.” The book,
set in the 15th century, was a phenomenal success, and the church itself was a
major character in its drama of love, lust and betrayal. Hugo intended the novel
to ignite interest in France’s legacy of gothic and medieval architecture, and
he succeeded. Notre Dame, then in a state of grave disrepair, was rediscovered,
and various government committees and commissions were established to help the
country address what we now call cultural heritage and historic preservation.



Repairing Notre Dame was one of the most urgent projects, and Eugène Emmanuel
Viollet-le-Duc, one of two architects put in charge of restoration, began to
undertake extensive and controversial changes. Perhaps no one in the history of
the cathedral understood it better — its quirks, structural oddities and weak
spots — and no one was more passionately hostile to earlier renovations that had
altered its gothic design. But Viollet-le-Duc’s definition of restoration was
more like that of a contemporary theater director approaching an old script than
a preservationist working with scientific and historical rigor: “To restore a
building,” he wrote, “is not to maintain, repair, or redo it, but to reestablish
it in a finished state that may never have existed at a given time.”

Viollet-le-Duc changed the windows, added decorative elements to the base of the
flying buttresses, remade statues, and created wholesale many of the grotesques,
chimeras and gargoyles that visitors often assume are the essence of the
cathedral’s gothic character. He also built a new spire, out of wood and lead,
to replace the one that had been removed in the mid-18th century because it was
no longer sound.

Those changes rapidly became embedded in the public memory of the building. I
recall receiving a postcard from Paris that showed a classic image: the Eiffel
Tower, with one of Viollet-le-Duc’s gargoyle figures in the foreground. But it
didn’t contrast old and new, simply two visions of the 19th-century remake of
the city.

“Le stryge,” or “The Vampire,” an 1853 etching by Charles Meryon, shows one of
architect Eugène Emmanuel Viollet-le-Duc’s grotesque Notre Dame figures.
(Rosenwald Collection/National Gallery of Art)

One of the most famous images of 19th-century France was an 1853 etching by
Charles Meryon called “Le Stryge,” or “The Vampire,” which shows another of
Viollet-le-Duc’s grotesque Notre Dame figures, its tongue sticking out
contemptuously as it watches over a fantasy of old Paris. It helped to define
the curiously Parisian sense that the city’s essence is woven of both beauty and
squalor, that it teems with contradictions and harsh contrasts, as in a famous
poem by Charles Baudelaire: “Brothels and hospitals, prison, purgatory,
hell/Monstrosities flowering like a flower …”

In the spring of 2019, the most recent renovations to the cathedral were
underway. Scaffolding was erected around the spire to make repairs, and days
before the fire, 16 statues at the base of the spire were removed.

On April 15, a massive fire broke out. Over several hours, flames raged and
eventually destroyed Notre Dame’s spire, roof and timbers within. An official
cause has still not been determined, although early speculation centered on an
electrical source, or a discarded cigarette.

After the fire, debate began almost immediately about the cathedral’s
restoration. Should it be returned to its exact pre-fire configuration? Should
the 19th-century spire be rebuilt? Or should it be updated for the 21st century
and beyond?

In the spring of 2019, the most recent renovations to the cathedral were
underway. Scaffolding was erected around the spire to make repairs, and days
before the fire, 16 statues at the base of the spire were removed.

On April 15, a massive fire broke out. Over several hours, flames raged and
eventually destroyed Notre Dame’s spire, roof and timbers within. An official
cause has still not been determined, although early speculation centered on an
electrical source, or a discarded cigarette.

After the fire, debate began almost immediately about the cathedral’s
restoration. Should it be returned to its exact pre-fire configuration? Should
the 19th-century spire be rebuilt? Or should it be updated for the 21st century
and beyond?

After the fire, the Cité de l’Architecture et du Patrimoine, a Paris museum that
includes Viollet-le-Duc’s invaluable collection of full-scale architectural
casts of historic French facades and medieval sculptural elements, displayed
models, sculpture and other objects related to Notre Dame. The museum embodies
the complicated legacy of Viollet-le-Duc, who was for much of the 20th century
considered a fantasist, a Walt Disney-like figure who invented his own version
of historic architecture. But he also was a meticulous observer, and the
documentation he left behind may be essential to restoring Notre Dame.

“We know we can construct it exactly like it was,” says Francis Rambert,
director of the museum’s architectural design department. He is standing in
front of Viollet-le-Duc’s model for the wooden spire, a small-scale sculptural
marvel in itself. “But the question is, do we need to sacrifice all those
trees?”



The spire and the wood have become intertwined flash points that seem to divide
French opinion not into clearly opposed ideological camps, but into myriad
fragmentary alignments of opinion, as complex as one of the cathedral’s rose
windows. There are environmental issues, aesthetic issues, cultural issues,
patrimony issues and financial issues.

Is wood necessary? Would lighter materials be better, or do the vaults need the
heavy weight of wood to make them secure? Is satisfactory wood available? At one
point last year, a Ghanaian company even offered to dredge up giant trees
preserved and strengthened by submersion when land was flooded for a dam in
Africa in 1965.

The current debates and controversies have uncovered a deeper admiration for
Viollet-le-Duc and his architectural changes than might have been apparent a
quarter century ago. “Was he some kind of genius or someone who was a
megalomaniac?” asks Barbat, the government heritage director, who adds that
opinion about Viollet-le-Duc has changed markedly since the 1990s, with growing
acknowledgment that his changes have become part of the cathedral’s history.
Indeed, when a damaged part of the church’s Porte Rouge was repaired recently,
one of Viollet-le-Duc’s elements was meticulously reproduced, a sign that
preservation now includes older, 19th-century restoration efforts.

Notre Dame, which was partly destroyed when fire broke out beneath the roof on
April 15, is pictured on Jan. 6. (Philippe Lopez/Agence France-Presse/Getty
Images)

In the end, it will probably be Macron who determines the new form of Notre
Dame, although it’s unclear how much he will defer to experts, traditionalist
voices, the Catholic Church and the concerns of preservationists. French
presidents generally want to put their stamp on Paris, such as Georges
Pompidou’s support for a modern cultural center, which eventually became the
Centre Pompidou, a bristling postmodern architectural masterpiece, or Francois
Mitterand’s championing of I.M. Pei’s Louvre pyramid project. Macron, young,
arrogant and determined to chart a new middle course through the fault lines of
French political life, has his perfect signature project: the restoration of an
ancient building with a modern twist.

“As for the decision itself, I would say that only the president can answer
this,” Barbat says. “He was really involved since the night of the fire when he
was present at the cathedral. Most likely he will speak about it with the head
of the [commission], General Georgelin, but also the minister of culture.
Afterward, I cannot answer precisely what he will decide alone in the loneliness
of the presidency.”


PHILIP KENNICOTT

Philip Kennicott is the Pulitzer Prize-winning art and architecture critic of
The Washington Post. He has been on staff at The Post since 1999, first as
classical music critic, then as culture critic.


AARON STECKELBERG

Aaron Steckelberg is a senior graphics editor who creates maps, charts and
diagrams that provide greater depth and context to stories over a wide range of
topics. He has worked at the Post since 2016.

About this story

Illustrations of Notre Dame’s construction are based on research from Notre-Dame
de Paris Cathedral and Columbia University. Edited by Janice Page and Amy Hitt.
Copy edited by Carrie Camillo. Graphics edited by Danielle Rindler. Photo
editing by Moira Haney. Design and development by Aaron Steckelberg and Junne
Alcantara.



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