Eugène-Emmanuel Viollet-le-Duc - Designs and Ornaments  from the Chapels of Notre Dame

Copyright Copyright 2011 by Dover Publications, Inc. All rights reserved. Bibliographical NoteDesigns and Ornaments from the Chapels of Notre Dame, first published by Dover Publications, Inc., in 2011, is a republication of images from Peintures Murales des Chapelles de Notre-Dame de Paris, published by A. Morel, Paris, in 1870. A Publishers Note has been written specially for this edition. [Peintures murales des chapelles de Notre-Dame de Paris. [Peintures murales des chapelles de Notre-Dame de Paris.

English] Designs and ornaments from the chapels of Notre Dame / Euge`ne-Emmanuel Viollet-le-Duc and Maurice Ouradou.
p. cm. Originally published: Peintures murales des chapelles de Notre-Dame de Paris. Paris : A. Morel, 1870. ISBN-13: 978-0-486-84050-5 ISBN-10: 0-486-84050-6 1.

Viollet-le-Duc, Euge`ne-Emmanuel, 18141879Themes, motives. 2. Notre-Dame de Paris (Cathedral) 3. Church decoration and ornamentFranceParisHistory19th century. I. II. Title. Title.

NK2192.F84V566 2011 726.50944'361dc22 2010047040 Manufactured in the United States by LSC Communications 84050601 2019 www.doverpublications.com PUBLISHERS NOTE One of the masterpieces of world architecture, the Cathedral of Notre Dame as it exists today is the culmination of countless renovations. Located on the Ile de la Citthe medieval island within Paris regarded as the citys centerNotre Dame was constructed near the site of Saint Stephens cathedral. Saint Stephens was built between the fourth and seventh centuries (excavations have failed to determine the original date), following the transition from pagan worship to the establishment of Christianity in the region. In the mid-twelfth century, with the election of Maurice de Sully as the bishop of Paris, a decision was made to build another cathedral near Saint Stephens. Paris was growing in influence, and erecting a larger, more elaborate cathedral would reflect the importance of the city. Saint Stephens would be demolished to make way for the new building.

Drawing upon the medieval gothic style, builders during the twelfth and early thirteenth centuries added to the original plan a choir with a high altar, side aisles and tribunes in the nave, towers on the faade, and side chapels in the nave; the installation of stained glass and paintings added color to the cathedral. The lack of light within the building led to the enlarging of the windowsthe darkness was thus relieved, and a more modern illumination was achieved. Although the first builder remains anonymous, later contributors to the construction include Jean de Chelles and Pierre de Montreuil. In many cases, designs begun by one architect were altered by his successor, and de Montreuil, who followed de Chelles, was more highly regarded for his contributions. Additional developments in the late thirteenth and early fourteenth centuries included the construction of the choir chapels and the placement of a stone screen around the choir. During the seventeenth and eighteenth centuries (Notre Dame was by then in need of renovation), the sanctuary and choir were refurbished, and the stained glass windows, darkened with age, were replaced.

Louis XIII, in 1638, believing his prayers to the Virgin to have been answered after his recovery from an illness, dedicated the cathedral to her. The French Revolution (late eighteenth century) brought its own changes to Notre Dame: numerous statues in the Gallery of Kings, as well as major portal statues, were destroyed, and the spire, dating from the thirteenth century, was removed. Perhaps the most significant event to impact Notre Dame thereafter was the publication of The Hunchback of Notre-Dame (1831). It was already apparent that the cathedral was in need of repairs, and the grand success of Victor Hugos novel led to a call for the restoration of the cathedral; ideally, restorations were to be made using original materials, and were to be consistent with the period. The formation of a committee in 1841 soon led to a full-blown campaign, which solicited plans from architects such as Jean-Jacques Arveuf, Jean-Baptiste Lassus, Eugne-Emmanuel Viollet-le-Duc, and Jean-Charles Danjoy. Lassus and Viollet-le-Duc were chosen by the committee, and a budget was prepared.

Work began in 1845; a new budget was required by 1850. After Lassuss death in 1857, Viollet-le-Duc took over the restoration. His contributions to the restoration of Notre Dame included the redesign of the outer chapel windows, the reconstruction of the spire above the crossing; the renovation of one of the enormous rose windows, which he designed to be exceptionally light-giving; the installation of paintings on the walls of the side chapels; anda well-known feature of the cathedralthe addition of gargoyles and other decorative sculpted figures. In 1864, after extensive work and many cost overruns, the revamped Cathedral of Notre Dame was dedicated by the archbishop of Paris. Eugne-Emmanuel Viollet-le-Duc, along with Maurice Ouradou, his son-in-law and the inspector of the renovations being carried out at Notre Dame, produced a compilation of designs and ornamental features of mural paintings in the cathedrals chapels. [The Plate numbers correspond to the Plan of Notre Dame that appears at the beginning of this book (Plate A)].

This splendid collection of images includes both abstract and representational elements, including Christian iconography. The motifs themselves range from floral patterns and charged animals to geometric designs, scrollwork, and checkerboards. Architectural details appear as well. A gargoyle can be located on , echoing Viollet-le-Ducs role in adding the famed gargoyles to Notre Dame. Rich, harmonious colors inform each plate. This masterwork of religious devotion and architectural genius stands today as a monument to the many buildersknown and unknownwho gave developing Christianity a foothold in one of the worlds great capitals.

LIST OF PLATES