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Cathedral Our-injury of Paris - Wikipédia Cathedral Our-injury of Paris an article of Wikipédia, the free encyclopaedia. Cathedral Our-injury of Paris Our-injury of Paris, for the Parisian ones Our-injury, is in France and was at the time of its completion the largest cathedral of Christendom. It chief-of?uvre, one of the most known symbols of the French capital, is located at the end of, historical center of the city, very close to the banks of the Seine square Our-injury - place Jean-Paul II.  .: the audacity of propping up ch?ur is particularly noticed. Its Western frontage is one chief-of?uvre of architectural balance. After the revolutionary upheaval, the cathedral underwent of 1844 to 1864 an important restoration and sometimes discussed directed by the architect, who incorporated there elements and reasons that the monument bequeathed by which decorate each arm of the transept, are among largest of and measure each one 13,1 meters diameter. A bronze plate encrusted in the ground is used as item zero of all the distances from the roads starting from Paris. This site is served par .les. Stages of the construction of the cathedral. The southern frontage and the Saint-Etienne gate. The northern frontage and the gate of the cloister. Strap hinges of the doors, chief-of?uvre of ironwork. Waste-gas mains of the Middle Ages and dreams of Viollet-the-Duke. History of the waste-gas mains of Our-injury. Mays of the Goldsmiths. Our-injury in arts. The stages of the construction of the cathedral the cathedral is located at the end is island of the City the first cathedral of Paris dates from second half of. It was in the west of the building actuel . its frontage measured 36 meters and its length was 70 meters. Lines of marble columns separated five. The building was decorated mosaics. The presence of a baptistry is attested before 451. decided the construction of a sanctuary of a new type. The architecture of the new cathedral was to conform to the pattern of the new art which one will call. Several large Gothic churches had already been inaugurated with this moment .: At that time, Paris only one was not évêché, suffragan of the archbishop of. In 1163 the installation of the first stone by the pope then taken refuge with Sens takes place, in the presence of the king. The main part of work will be done under the direction of the bishop (1197-1208), this last without family tie with the first. One distinguishes four campaigns from construction corresponding to four different Masters of?uvre whose names did not reach us. 1182-1190 .: construction of the three last spans of the nave, the sides and the platforms. 1190-1225 .: construction of the first two spans of the nave and the base of the frontage. In 1208, the gates are built and decorated. 1225-1250 .: high part of the frontage, and the two turns. Enlarging of the high windows (removal of the small rosettes) to cure the darkness (1230). Construction of the side chapels of the nave enters the abutments of propping up. The southern tower is completed in 1240 and one gives up the same year the idea to equip the turns with an arrow. On this date the cathedral in fact is finished and completely operational. The later phases of the construction will relate to additions, embellishments, repairs and modifications sometimes extremely important. Large propping up bedside were launched by Jean Ravy at that time, one realized that the gates of, contrasted by the severity of their architecture with the large richly decorated Gothic frontage with the style of the day. The rebuilding of the Romance parts was then nimbly decided by the Renaud bishop of Corbeil (1250-1268). We know the names of the Masters of?uvre who followed one another during this period. Jean de Chelles carried out the lengthening of, in north initially (about 1250), then in the south. One owes him the northern frontage of the transept and his superb. Pierre de Montreuil had also completed the vaults and the red door. Its successor Pierre de Chelles built jubé and began the vaults of the bedside in 1296. These last were completed by Jean Ravy who was a Master of?uvre of 1318 to 1344. Jean Ravy began construction from the admirable ones. In 1344, its Jean nephew Bouteiller succeeded to him until 1363. After his death, its Raymond assistant of the Temple completed the work, and in particular the superb fence of the ch?ur. During nearly three centuries, one respected the structure of the large cathedral, but the things changed as of the end of the XVII. The company of this time (end of the XVII, considered to be art barbarian, sinks, antiquated and well too austere. More than one prelate dreamed to demolish his Gothic cathedral to replace it by a sanctuary. One thus restricted oneself at that time to rebuild, generally in traditional style, which had broken down (like the frontage of), or then to destroy and replace what one could destroy and replace with less expenses, namely the?uvres of art and interior decoration, the low-reliefs of the fences, as well as tombs, that for the realization of considering the building too dark required of the brothers the Old one to destroy superb the Middle Ages and to replace them by glass blanc . after which one whitewashed the walls of the cathedral. central gate, including a part of the famous Last Judgement, to let pass it more easily. One found a good part of these heads in 1977, and they are currently with. Inter alia depredations, almost all the large statues of the gates were destroyed, the treasure was plundered, and it. Detail of the Last Judgement remakes at the time of the restoration of the cathedral to the XIX Example of the restitution of the carved program carried out by the team of sculptors of Viollet-le-Duc .: Rule of Denis saint on the southern buttress of the western frontage, the cathedral was returned to the worship (April 18, 1802). One carried out some emergency repairs quickly so that in 1804, could crown emperor of the French there, in the presence of the pope, admiror of the building, then wrote (1831) its novel "" the purpose of which had an enormous success and was in particular to make the public conscious of the value of such a monument. It succeeds in creating a broad popular movement of interest in favour of the cathedral. Its novel had returned life to a monument then which marginalized and had made it more familiar to the Parisian ones. With that the weight of the new called European current was added which endeavoured to give to the men a new design of the world. By his novel, Victor Hugo largely contributed to save chief-of the?uvre ravaged one of a fatal destiny. The Minister of religion of the time decided on a great program of restoration. The Godde architect hitherto charged with the maintenance of the building and of which the methods of restoration achieved the unanimity against them fur isolated which had been distinguished on the building site from the Ste Chapelle. The latter filed in a project and a report/ratio, and having carried the invitation to tender in 1844, presented in 1845 a budget of 3.000, for the repair of the cathedral and the construction of one. The French National Assembly voted a law granting this sum and thus after long years of waiting, the restoration could really begin. Viollet-the-duke had to present several time new proposals so that work can finish. On the whole more than twelve million franks were thus granted. Lassus being deceased in 1857, it is him only which finished the restoration on May 31, 1864. It was indeed necessary to go down to nine meters before meeting a stable ground. The lamentable state of masonries of the cathedral was generalized, the red door for example was in ruins. As for the large statuary of the gates and frontage, there did not remain large any more about it thing. It is the restitution of the carved program of the cathedral which constitutes the principal success of the two architects. They have start desired to reconstitute all the sculptural ornamentation destroyed by being inspired or copying?uvres same time and remained intact (. With this intention the architects joined together a team of excellent sculptors under the direction of. Much of them came from the workshop from. Viollet-the-duke took a very great care to the realization of these statues. They were initially drawn by its care, then a natural model size out of plaster was produced. One then made the corrections necessary until the?uvre is considered to be satisfactory. At this time only, one proceeded to the realization of the final stone statue. No freedom of creation was authorized on behalf of the sculptors whose work was completely controlled by the architects. Let us note that at the time of the restoration, the cathedral was somewhat altered. The southern pink for example was swivelled of fifteen degrees in order to make it rest according to a vertical axis, modification which appears very criticizable and inopportune. Finally some statues left the imagination of the architect were built, such the impressive ones. - This scene is held in the ch?ur cathedral such as it was presented at the time, with the decoration of the columns conceived by. Our-injury good before its completion is the place of grinds religious and political events history of France .:. (all alone) emperor of the French crowns itself there, in the presence of the pope. Like the majority of the French cathedrals, Our-injury of Paris a outline drawing of Latin cross has height of the frontage without the tours .: 43 meters width of the central vessel of the nef .: 12 meters northern diameter of the pinks and sud .: 13,10 meters diameter of the pink ouest .: 9,70 meters. The axis of this one is slightly deviated compared to the axis of the nave is semicircular with five sides side (except on the first three spans) and. It could contain to 3000 people, the nave concerns the first Gothic style, with sexpartite, however without alternation of strong piles and weak piles as one sees it with the cathedral Saint-Etienne de Sens., quite identifiable of the outside of the monument, does not make not covered compared to collateral and the side chapels. Except the transept, interior rise is on three levels, with large arcades, platforms and windows high. In the two first of the two arms of the transept, rise is however on four levels, among largest of Europe (diamètre .: 13,1 m). The western frontage is a symbol of the Gothic art With the passing of years, it was suggested on several occasions that the original plans of Our-injury envisaged two arrows which would rise turns. The solids bell-towers could without any doubt have supported such structures. But it is not in so far as they were supposed being equipped with arrows as of other cathedrals followed the model of Our-injury and do not have either arrows (however, should it have had some, according to initial plans', but they were never completed). During the restoration which took place between 1844 and 1864, the idea of the arrows was again suggested. Certain experts affirmed since, on the basis of of its plans and its writings, which was itself in favour of these arrows. Lead plates cover it, and of the basins were arranged there which quickly contain water usable in the event of fire. Behind of the lead surface the large triangular pinion rises which finishes the roof of the nef .: on its point, an angel sounds the trumpet. The square is the great open zone being right in front of the western frontage. The word square comes from Latin paradisius, paradise. When the cathedral was built, the square was rather narrow. The cathedral was located among innumerable buildings out of wooden of small size, such as houses, shops and inns. The square preserved modest dimensions until the century, time to which the Beaufrand architect increases it. It was reorganized on several occasions thereafter, in particular since 1960. Kilometer 0 of the French roads is on the square, with a few meters hardly of the entry of the cathedral. The frontage corresponds mainly to the vision of Eudes de Sully, bishop of Paris of 1197 to 1208. Its architectural composition is a simple geometrical design) and a 43 meters height (141 feet), put aside the height of the turns. With the top of the unit, in north and the south, are the turns itself, with flat roof. The frontage, at the same time rigorous and linear, emphasizes in an astonishing way the circle of the stained glass of the registered voter at the center of a square of more than 40 meters on side. Many observers noticed that the general effect of the latter is similar to that of one. Just at the level overhanging the three gates, one observes the gallery of (and not kings of France). (it represented itself besides there) and the original fragments can be observed with the museum of. The frontage is outside constant by four, two for each turn, framing the three. On these buttresses, niches shelter four statues remade at the XIX century by the team of restorers of Viollet-the-Duke, then of two allegories, the Church on the left, the Synagogue on the right and finally (southern buttress) of a bishop, most probably. It acts of the principal gate of the cathedral. This remarkable sculpture dates from the years 1210. It represents in a wide way the scenes of the last judgement - when, according to the Christian tradition, deaths ressuscitent and are judged by the inferior, one can see deaths leaving their tombs. They are awaked by two angels which, on each side, sound trumpet. Among these characters, all vêtus, one can see a pope, a king, women, warriors, and even a black of Africa. Above, an angel uses a balance to weigh the sins and the virtues. Two demons try to make lean one of the plates on their side. The elected officials, while damnés connected on the right are carried out in, are pushed on the left by other demons, ugly, horned and with the diabolic glances. The expressions of these damnés are returned with rare a talent .: terror and despair are read on their face, the naked chest with half to show its wounds, chairs this divine court. Two angels, upright, on the right and on the left, hold the instruments of Passion are placed at knees and beseech the mercy of Christ. It is a quite concrete demonstration of the Christian imagery developed with by the Church, which then influences largely the people. Still let us note that at that time the scene was entirely painted and gilded. The scene of the Last Judgement also appears on many other cathedrals and in particular in the cathedral of. This gate, whose splendid scene of the Judgement which surmounts it, knew important depredations during second half of the XVIII. In 1771, on ordering of the clergy, Soufflot mutilated it seriously, removing the century, Viollet-the-Duke removed the remaining side parts of the lintels and deposited them with the museum. Thus only the higher part of the scene dates the XIII century, the two lower parts being modern surrounding the tympanum, and their sculptures are of time, they too. The pier was also reconstituted by the team of restorers. The large statue which appears there, that of the "Beautiful God" is the?uvre of Adolphe Victor Geoffroi-Dechaume according to the drawing - altered many times - of Viollet-the-Duke. As for the statues of saints of both. Under the large statues of the oven walls one can admire two. All these scenes also have nearly eight centuries of age. Let us add to that the undeniable success of the the XIX century restoration which makes that separately the specialists and the initiates, it is almost impossible to distinguish what dates the XIII century, of what was recreated at the time of Viollet-the-Duke and his team, and which, respectful of the spirit of the time, is based almost perfectly as a whole wanted with the Middle Ages. The four large statues of the oven wall of right-hand side of the gate of the Virgin remade at the XIX century represent holy Jean Baptist, holy Étienne, holy Genevieve and a bishop not identified. Notice on the left, close to the casement the low-reliefs representing of and the work signs of the zodiac of the months. It is a little older than the gate of the Last Judgement and date of the years 1210. Seriously damaged in 1793 (the nine large statues had been destroyed), it was the subject of a remarkable restoration at the XIX century, thanks to an abundant documentation which was used as a basis for the restitution of the statues. With the lower lintel, kings of Israel and prophets surround it This one is just with the top of the platform covering the statue with the Virgin to the child, pressing with the feet the snake, symbol of Satan, and located at. The higher lintel represents the resurrection of the Virgin. Two angels leave it the tomb, in the presence of Christ and of the apostles including Paul saint are represented sheltered respectively by the fig tree and the olive-tree. and an angel, being above it, place a crown out of gold on its head framing the tympanum are occupied by prophets, kings, angels and patriarchs represent in particular Parisian saints. On the left are a king (not identified) and decapitated, carrying his head and surrounded of two angels. The mutilated low-reliefs of the niches located under these statues represent scenes of their respective life. Lastly, side faces of the pier, as well as the central parts of the oven walls located close of, work of the months at the poor and the rich person, seasons and ages of the life, the whole magnificiently treated pointed in the wall around. The builders wanted that this gate is different from different in the honor from the Virgin, to which the cathedral is dedicated. The four large statues of the oven wall of right-hand side of theSainte-Anne gate, destroyed with the revolution were replaced by those which date from the XIX. TheSainte-Anne gate is dedicated to the life of. It is in fact recovered of the church former to the current cathedral. It is mainly made up of parts carved about 1140-1150. One can thus distinguish in the ornamentation from theSainte-Anne gate from statue and the parts XII, two thirds of the sculptures of the curves of the century (left lower the lintel other. These last were carved to make the connection. The pier of the gate introduces a large statue of, bishop of Paris, pressing with the feet the dragon of the legend. It is in fact a copy carried out to the XIX. The original is in the high room arranged in the northern tower. In 1793, the statue of Marcel saint of the pier was mutilated (face) and the eight statues of the oven walls deposited. The crowns were also damaged were very obviously carved on dates different and by sculptors from extremely different style. The lower lintel constitutes a part of connection between the two portions of the gate dating from the time of the former church. It was added when the gate had gone up at the beginning of the XIII. It presents a series of characters at the heavy forms having a disproportionate head and vêtus of too large draperies. On the higher lintel scenes of the life of holy Anne and the Virgin are. At the top of the two lintels, the tympanum introduces a Virgin in majesty. This gate is known mainly because of the polemic concerning two of the characters being reproduced on the child in his arms and two angels are two personnages .: a bishop and a king. The tradition wants that these characters represent the bishop Maurice de Sully, founder of Our-injury, and. But certain experts question this theory and support that the religious character is Saint Germain, bishop of Paris with. Other experts even affirm that these characters cannot be identified. Image:Notre Injury Paris face frontage lower. The low part of the western frontage, with the 28 kings having preceded Christ With twenty meters by the ground, a series of twenty-eight royal characters represents the twenty-eight generations of the kings of. Each statue measures more than three meters fifty top. The heads of the statues date from the  .siècle and are the product of the workshops of sculpture of the restorer. There remain today only fragments of the medieval statues. Twenty-and-a original heads were found in 1977, at the time of work undertaken for the restoration of the hotel Moreau, street of Roadway-in Antin in the IX district of Paris, and are currently exposed to the museum of Cluny to replace the original statue of the medieval time, severely damaged by the years and the western climatic conditions being behind this statue constitutes a splendid aureole. It acts there, according to the majority of the experts, the principal error of in a restoration which, if not, can be described as remarkable. All seems to prove that no statue existed on this site in fact due being would have placed in recesses of the wall furthest away from the southern arm of seems enormous, but although it is of considerable size, they are in fact smallest the three. It measures nine meters sixty of diameter. It was almost entirely remade by Viollet-the-Duke at the time of the great restoration of the XIX. Around one can see work of the months, the signs of the zodiac, the Virtues and the Defects as well as the prophets. The southern frontage and the Saint-Etienne gate in 1257, the Saint-Etienne gate was finished by. The tympanum of the Saint-Etienne gate is occupied by low-reliefs which tell the life of the first, according to Acts' of the Apostles is occupied by a large statue of Étienne saint?uvre of Geoffroi-Dechaume carried out to the XIX. door is carved of step less than twenty and one martyrs, to which angels offer crowns, and others whose identity could not be clearly given. On each side of the gate three statues of so modern apostles they, intended to replace those crashed to pieces by the vandals of the southern revolution of the cathedral, inopportunely rectified by Viollet-the-Duke, which would block the impression of rotation of the rosette. hollowed out, him also in the shape of pink. The northern frontage and the gate of the cloister the gate of the cloister is at the level of the northern arm of, and was built about 1250 by the architect Jean de Chelles. represents scenes of the childhood of. These sculptures among most beautiful?uvres are carved on this topic. They show the role of Marie as of the childhood of Jesus. The higher part of the tympanum presents the very popular "Miracle of Theophilus" who is one of the "Miracles of the Virgin" whose late Middle Ages were fond of delicacies. One has a manuscript reporting 40 of these "miracles": They are plays, played in front of the churches for the construction and the recreation of faithful about 1260 is most famous of all. The large Rose who is above measurement 13 meters diameter. The Master of?uvre Pierre de Montreuil built this small door, without, called for obvious reasons "the red gate" (red color of its. This door was reserved for and was intended to improve circulation of the latter between Our-injury and the "Enclos Cannonial", district of reserved for the residences of the canons and located at the North-East of the cathedral between the river and the latter. The red door opens in the cathedral by one of the side chapels north of the ch?ur. Saint-Louis is represented on. With the curves surrounding the tympanum one can see scenes of the life of. On left of the red door, on the level of the wall external of the side chapels of the ch?ur are seven century - time when these vaults were built -, of which five are referred to Vierge .: its Death, its Burial, its Resurrection, its with Marie interceding near Christ, and a representation of. Strap hinges of the doors, chief-of?uvre of ironwork. The strap hinges are nailed and bolted with. The doors of Our-injury of Paris are decorated with wrought iron strap hinges of an exceptional beauty. They form full fine and light arabesques, drawings of flowers and foliages, and even of the animal forms. They are witnesses of foreground of the consumed art of the iron work to the XII. Moreover, they arise magnificiently on the coating with which one covered the casements figure 1 - the artist blacksmith of the time started by forging each brushwood separately, to gather them by after figure 2 - the five principal parts with the lower strap hinge of the door Sainte-Anne figure 3 - Strap hinge of theSainte-Anne door - an example of the extreme complexity of the meeting of the small branches the bands of these strap hinges have a width from 16 to 18 centimetres, on approximately a 2 centimetres thickness. They are made up of several bands joined together and welded of distance in distance to the means of Those not only add a great resistance to the unit, but allow to cover the weldings with the bent branches is consisted a half-circle located in the part more at the east of the cathedral. It was built during the first phase of construction, of 1163 to 1180. admirable supports its wall higher round-off. It is decorated with sculptures and panels representing inter alia episodes of the life with. The roof is covered with 1326 lead tiles of 5 millimetres thickness. of length on three broad (1 foot-of-Roy = 32,484 cm). The current frame dates from the time of the construction of the cathedral at the XIII century beginning (one generally admits 1220), Our-injury having had the chance not to know of major fire since then. It is called familiarly the "Forest of Our-injury". Its dimensions 120 meters length, 13 meters of width in the nave, 40 meters length in the transept and 10 meters height are. On the whole the wood frame consisted of 1 .300 oaks, which represents more than 21 hectares of forest, the construction of the warheads required steeply sloping roofs. Those of Our-injury of Paris are of 55°. At the moment of the construction of the frame, the large trunks were made rare being given the clearings of the time. One thus had to thus use wood with section more reduced and lighter which allowed the rise in the frames and the stressing of their slope. In the ch?ur builds in first, it existed a former frame with wood cut down about 1160-1170. This first frame disappeared, but some of its beams were re-used in the second frame installation in 1220. With this date indeed one proceeded to the raising of 2,70 meters in the ch?ur, in order to carry it on the same level as that of the nave. The high windows were also increased. Waste-gas mains of the Middle Ages and dreams of Viollet-the-Duke waste-gas mains of the tops of propping up on the level of the northern frontage of the nave. The waste-gas mains of Our-injury are famous. They often have the shape of even alarming fantastic animals. Forts beautiful waste-gas mains are in particular on the level of large. The system of water run-off of the roof of the apse ends in a drain on the top of propping up then by long waste-gas mains. To have an idea of their utility, it is necessary to go to see them on the other hand functioning one day of strong rain on Paris are fantastic and diabolic statues. All the angles of this balustrade are used of support or perch with fantastic demons, monsters and birds. and are additions incorporated by the architect. These monumental, grotesque statues certainly but especially alarming, were intended to recreate the fantastic atmosphere in which bathed the Middle Ages. It was there a quite daring bet of the architect. One cannot deny that it was a great success. The architect-restorer did not restrict himself any more to restore the destroyed sculptures, but showed by there that he was also a brilliant creator, endowed with a personal inventive genius. Our-injury is not a monument solidified in the past, nor a museum, but an alive cathedral. Comfortably installed with the top of the cathedral these monstrous creatures seem to contemplate the large city and to be regaled of all turpitudes that they discover there. Among them, most famous is undoubtedly, night spirit malfaisant similar to the vampire, already dreaded Romans, who was popularized by the engraver Claude Meyron who published a famous engraving in 1850 of it. A dream of the cathedral Our-injury of Paris seems repaître spectacle of the capital Stryge is one of the most famous dreams of Our-injury Other dreams of Our-injury of Paris Histoire of the waste-gas mains of Our-injury figure 1 - primitive, short and robust waste-gas main that one can see about 1225 figure 2 - fine and slim waste-gas main of one of propping up nave. Under the base of the waste-gas main one notices a pretty corbel extremely humorously carved At the beginning of the construction of the cathedral (XII century), the water of the roofs ran out directly on the public highway thanks to the projection given to the cornices. One built soon gutters on the roofs of the building, but towards still, water of the gutters ran out on the projection of, by means of drains located at regular intervals. The waste-gas mains appear only about 1220, on certain parts of. These waste-gas mains were broad, very few, made up of two parts, lower the formant laughs, the other covering it. Already, however, these waste-gas mains take the shape of fantastic animals, heavily cut century understood that there were great advantages to divide the flows of water, and thus to increase the number of the waste-gas mains. Soon the sculptors made these projecting stones a reason for decoration of the buildings. Those which are placed at the end of the gutters of, and which are about of the same time, already longer, more slender, and are supported by, which made it possible to give them a very large projection in front of the outside of propping up (see figure 2). The waste-gas mains were posed systematically on the high structures of Our-injury worms 1240. Certain limestones of the basin of the Seine (hard limestones) lent themselves perfectly to the sculpture these long pieces of projecting stone on constructions. It was necessary, indeed, a rather hard and enough resistant matter to face all the causes of destruction likely to cause their ruin. Also this in Paris, or in other regions is where one finds, which one can still currently admire the most beautiful examples of waste-gas mains. The arrow of Our-injury sight since south-east. The first arrow was built above crossed. Such high arrows suffer from the wind which folds and weakens their structures. The arrow is deformed slowly, the solids are distorted, until the total collapse. The arrow of origin was dismounted in 1786, after more than five centuries of existence. The cathedral remained without arrow until the restoration directed by. It is in oak covered with lead and weighs 750 tons. These statues are the?uvre of Geoffroi-Dechaume, and constitute a remarkable whole in full harmony with the spirit of the XIII. The apostles all are turned towards Paris, except one of them, Pierre. It is a small historical joke of this large architect and restorer. Emmanuel, the bumblebee of Our-injury is in the southern tower. Jacqueline weighed only fifteen thousands of books (7 .500 kilogrammes). Marie-Thérèse weighs a little more of the double (16 .000 kilogrammes or 16. The thickness of the bell is of 28 cm . the perimeter is 4 meters. A Latin inscription, placed in relief, reports its adventures and its transformations. Then the revolution passed which did not save the bells. The Marie-Thérèse bumblebee was broken and molten in 1792. The Emmanuel bumblebee escaped extremely fortunately from the storm. It is today one of the most beautiful bumblebees of Europe. Located in top of the 422 steps of the southern Tower, it weighs 13. It is told that when it was remelted in, the women threw in the molten metal their gold jewels, giving to the bell his single tone out of F sharp. They sound three times per day, at 8 a.m., midday and 19 hours. Diagrammatic cut of the great nave with its 2 sides equal height and its platforms. The construction of the nave started in 1182, after the dedication of the ch?ur. Some even think that work began since 1175, before the dedication. Work stopped after the fourth unfinished span leaving the nave while one began the construction of the frontage in 1208. The construction of the nave was taken again in 1218 in order to contrebuter the frontage. The nave is composed of a kind "of before-nave" of two spans located under and between the turns, followed of eight other spans. The platforms are furnished with small. Nonfigurative, they are the?uvre which used the products and colors of the Middle Ages. The unit is with dominant red and blue. Mays of the Goldsmiths. The goldsmiths had long date their own vault within the sanctuary. In 1449 was instituted by the brotherhood of the Goldsmiths of Paris the tradition of the Offering of May in Our-injury of Paris. This tradition took various forms with the wire of time century, it acted of a tree, decorated with ribbons which one drew up in front of the high altar as a sign of piety mariale. Then the tradition evolved to the gift of a species of gate vault to which poems were hung. From 1533, one hung also small tables referring itself to the life of the Virgin. They are called small the mays., small the mays were replaced by large the mays. They was large tables from more or less 3,5 out of 2,5 meters of dimension. These Mays were active near painters of reputation. The painters were to submit their drafts to the canons of the cathedral. Royal academy of painting and sculpture, in 1648, the selected artists all were members or close to the latter. These orders quickly became a form of contest of religious painting. Their subject related generally to. After exposehaving exposed them on the square, one hung them on the level arcades of the nave or ch?ur. For the painters, it was a great promotion to see thus exposed one of their?uvres, testimony of their know-how. The mays were dispersed with the revolution and much disappeared. Recovered by afterwards, they embarrassed at the XIX century the restorer Viollet-the-Duke who, connected towards the purity of art, did not have anything to make this cumbersome decoration, others in some churches or various French museums. Most important were extremely fortunately recovered by the cathedral and decorate today the side chapels of the nave of Our-injury. A window of Our-injury, southern side chapel. The first vault (span 4) is the old vault of the goldsmiths. The third vault contains the may of 1643, Crucifiement of. Fourth chapelle .: Preaching of Pierre Saint in Jerusalem (may of 1642), painting of. Fifth chapelle .: The centurion Crow with the feet of Pierre Saint, may of 1639?uvre of Sixth chapelle .: contains the may of 1637, the conversion of. Seventh chapelle .: may of 1635, Holy Pierre curing the patients of his shade by. The first vault contains the tomb stone of the canon Étienne Yvert. Second chapelle .: may of 1702, wire of Scéva beaten by the demon by. The wire of Scéva were two Jewish exorcists. One can also see there the martyrdom of holy Catherine painting of the artist engraver. It contains the may of 1687 representative the tressaillant prophet of joy to the sight of its torment. The vault contains also the monument with the Amette cardinal created in 1923 by. Fifth chapelle .: may of 1755 representative the scourging of Paul saint and Silas saint of. Sixth chapelle .: one can see Saint Paul there returns to blind man the false prophet Barjesu, may of 1650?uvre of. Finally the seventh vault contains them, as well as the worship of the Shepherds of. The ch?ur of the cathedral was deeply altered at the beginning of the XVIII. Work of installation of known as the v?u proceeded of 1708 to 1725 and thus finished well after the death of. The cathedral undergoes then some irrevocable losses, the such demolition of the century, the destruction of a good part of the superb fence of the ch?ur, chief-of?uvre of the XIV. On the other hand some chief-of?uvres new, always present today, made their appearance. Sight of the new furnace bridge ordered by Mgr Lustiger. A mass is celebrated there, quite visible since the transept. All the decoration of the ch?ur had been remade by Robert de Cotte. There removed also the high altar of Coat to return from there to a furnace bridge of the Average Age century, he remains however still the stalls and the sculptures which one sees behind the high altar to satisfy the new definite catholic rite with was somewhat increased, he also occupies from now on the essence of. A new high altar was ordered by the archbishop and occupies this new space, quite visible at the same time of the nave and the two pilot wheels of the transept. Located thus under the keystone, the new furnace bridge, out of bronze, was carried out by. One can see the four evangelists there (), as well as the four large prophets of In the east of the ch?ur, not far from the apse one always finds the former Master furnace bridge created per century, with with the background the superb statues established with the beginning of the XVIII. On both sides of this one the statues of the two kings are. a series of six statues of angel out of bronze carrying the instruments of out of carved wooden are installed on the two sides of the ch?ur. They were carried out at the beginning of the XVIII. The high files of the stalls are decorated of. On each side, the stalls end in a stall archiépiscopale, surmounted by a baldachin with groups of angels carved by Dugoulon. One of these two stalls is reserved to the archbishop, the other being intended to an important host. The low-relief of the stall of right-hand side represents the martyrdom of. One distinguishes the northern fence from the southern fence, the two parts having a style and an age various centuries, representing a series of scenes of the Gospels, then qualified poor art or of barbarian art. All the scenes represented, as well in north as in the south, are polychrome. The colors were restored at the XIX century by the team of Viollet-the-Duke. The northern fence dates from last the XIII century old third, little after the construction of jubé today disappeared (around 1260). One carved there 14 scenes of the birth and the life of Jesus before his passion. These scenes are connected without rupture between them and thus constitute only one continuum. The southern fence of the ch?ur can be dated from the first years of the XIV of which there does not remain to us quasi any other carved testimony. It consists of nine scenes of the appearances of Christ after her Resurrection. Contrary to the scenes of the northern fence, those are quite separate the ones of the others thanks to the presence of posts the insulator completely. TheSaint-Guillaume Vault is, on the basis of the line of the ch?ur, the first of the five radiating chapels of the apse of the cathedral. In the following vault, Saint-Georges Vault, shelters the tomb of monseigneur. 1379 with the revolution, this vault was that of the shoe-makers. The third vault or axial vault of the cathedral, is the Vault of the Virgin or Our-injury-of-Seven-Pains. On a side of the vault is a XIV century old fresco showing the Virgin and other saints surrounding the heart of a bishop, Simon Matifas de Bucy. The fourth vault or Saint-Marcel Vault, contains the tombs of monseigneur?uvre of Adolphe-Victor Geoffroi-Dechaume. Finally the last of the apsidal chapels or Saint-Louis Vault shelters the tomb of the cardinal Adam of Our-injury is one of the most beautiful naked Middle Ages. Carved about 1260, as jubé it occupied the south-eastern angle, it was transferred in the southern arm from the transept. Today, for better protecting it, it is with (more or less 14 meters against 12 for the nave). , the stability of the unit being ensured by. The two spans closest to transept crossing are covered with one. In the first two spans, rise is on four levels, and not three like the nave. The large arcades, open on. The second level is always consisted of the platforms. What exchange is the addition of a third stage made of. The fourth level finally is that of the high windows. Those are smaller than those of the nave, since the addition of the oculis cut down the corresponding height. On the whole the top of the vault reaches the same height as that of. The wall of the third span is full on the level with the large arcades. It is then surmounted by two levels of decorative blind arcades plug in the southern brace, but of a level only in the northern brace. The Eastern part of transept crossing is occupied by the new one of the cathedral (see the paragraph concerning. Against the south-eastern pillar of transept crossing a statue of the Virgin called Our-injury of Paris is. Very close from there, a plate is recalling that it is in the cathedral Our-injury of Paris that the lawsuit of rehabilitation took place of. One can also see in this brace a plate announcing the place where was in December 1886, when abruptly touched by an intense illumination, it converts with Catholicism. It is organized around the Christ who occupies the center of it. Around the wise virgins and the insane virgins are represented, of the saints, the angels, the apostles, the holy ones. One can see there against the north-eastern pillar of transept crossing, a statue of. The head wall of the northern brace comprises three niveaux .: a door, surmounted of a section of wall without ornament. The second level consists of an open-type screen with nine arcades of two lancets. Finally a third stage is consisted of the rosette. Contrary to the southern rosette, the northern rosette preserved almost intact its stained glasses of origin. The center is occupied by the Virgin Mary. Around it revolve the judges, the kings, the large priests and the prophets of. The lower part of the head wall this arm of the transept opens on the gate of the Cloister. Sight external of the southern rosette the northern rosette of Our-injury of Paris comes us straight of the XIII. It is a pure chief of?uvre Gothic radiating Large the Organ of Our-injury of Paris result from successive work several great factors of orgue .: Thierry in 1733. At the present time, afterwards of multiple additions and restoration, they count 113 plays since 1992. The transmission became numerical for the five keyboards as well as the pulling of the 113 plays. Since the death of Yves Devernay in 1990, the organ is held by three Co-holders:. It is consisted of the Crown of Spines and a fragment of the Cross as well as a nail of the latter. Are presented at the public only the reliquaries that. Our-injury of Paris east, with approximately 13 visitor and pilgrim million per annum (2005), monument of France and perhaps of Europe more visited in front of the Eiffel tower. That wants to say an average of more than 30 000 people per day. The days of great multitude, it is more than 50 000 pilgrims and visitors who penetrate there. The cathedral has been known in the whole world for more than five centuries. It is also the place of the capital visited in very first place and mass by the Chinese of passage in Paris. Paying visits of the towers of the cathedral are organized tous.les.jours by (except on January 1, May 1 and December 25). There existed into 2008 of the visits in French, English, German, Spanish, Italian, Japanese, Russian and Chinese. The Center of the national monuments also organizes visits in (LSF) for the deaf people. Moreover, each day, of the visits are offered free by the cathedral. The purpose of they last approximately an hour and are to present the Christian message through?uvres of art gathered in the sanctuary. Our-injury is a particularly alive church. Five offices per day are celebrated Monday at Saturday, and seven Sunday. By adding the exceptional festivals and religious services, in fact more 2 .000 celebrations per annum occur under the vaults from the cathedral, which is in phase with the romanticism and the catholics who want to return to enthusiasm " .naïve .". Our-injury in arts  .: Musical (Helene Ségara, Daniel Lavoie, Bruno Pelletier, Patrick Fiori, Luck Mervil, Julie Zenatti - Luc Plamondon and Richard Cocciante) voyages of Jhen .: Our-injury (Aton and Sophie at discovered Our-injury (night of Zéfirottes (Claude Ponti). Our-injury of Paris .: with the crossroads of the cultures (Classification to the title of banks of the Seine Between 1815 and 1914, the value of the frank remained stable and can be estimated with the equivalent of 10 euros 2008. The open account by the Parliament was thus equivalent to a few 25 million euros, which completely insufficient, was seen the extent of work. and photographs in "Our-injury of Paris" by Alain Erlande-Brandenburg (pages 210 and suiv. On the hundred large statues carved by the team of restorers, Geoffroi-Dechaume carried out 30 . of it: 18 of stone and 12 of pushed back copper. Among the other sculptors of the team, in particular Chenillion, Fromanger, Michel-Pascal, All Saints' day, Elmerich, Prinsay and Vatrinelle were. Seul Adolphe-Victor Geoffroi-Dechaume reached posthumous glory. Our-injury of Paris - History of construction. ("Our-injury of Paris" by Alain Erlande-Brandenburg (page 215) - Editions of Martinière (Paris) 1997 "Our-injury of Paris" by Alain Erlande-Brandenburg (pages 28 and following) - Editions of Martinière (Paris) 1997 - reasoned Dictionary of the French architecture of XIe in XVIe century - Volume 8, Iron work Cathedral Our-injury of Paris - builders of cathedrals Our-injury of Paris - Dreams and waste-gas mains. See also the article of the Italian version of Wikipedia Viollet-the-Duke - reasoned Dictionary of the French architecture of XIe in XVIe century - Volume 2, Cathedral Cathedral Our-injury of Paris - the frame the Crucifixion of Pierre Saint with photo Center of the national monuments - Visit of the turns of Our-injury of Paris Cathedral Our-injury of Paris - To prepare its visit lists évêchés and French archbishop's palaces French catholic districts since 2002 proposes free documents multi-media on. Official site Cathédrale Our-injury of Paris Card-indexes on the site of the Ministry for the Plan culture of the cathedral with colors different for the various periods from construction Aubert, Maurice the Stained glasses of Our-injury and the Holy Vault of Paris, national Caisse of the historic buildings, CNRS, Paris (France), 1959. Collombet, François most beautiful cathedrals of France, Selection of the Readers Digest, Paris (France). the Cathedral Our-injury, Monum. from Monneraye, Jean Paris, Horizons of France - French Company of the Swiss presses, Paris (France), 1968. Denizeau, Gerard visual History of the monuments of France, Larousse, Paris (France). Erlande-Brandenburg, Alain Histoire of French architecture (Volume 1), Editions of the Inheritance, Mengès, Paris (France). Heinle, Erwin Türme Zeiten outward journey - to go Kulturen (3 edition), Deutsche Verlags-Anstalt, Stuttgart (Germany). Kimpel, Dieter Gothic architecture in France 1130-1270, Flammarion, Paris (France). Mark, Robert Gothique .: an empirical architecture, For Science, 01/1985. Mark, Robert High Gothic Structure, The Art Museum, Princeton University, Princeton (the United States). Perugia de Montclos, Jean-Marie the Art of Paris, Éditions Places Victories, Paris (France). Perugia de Montclos, Jean-Marie the guide of Patrimoine .: Paris, Ministry for the Culture - Hatchet, Paris (France). Prache, Anne Romance Island-of-France, Edition Zodiac, Paris (France), 1983. pp. Recht, Roland Builders of the Gothic cathedrals, Editions museums of the town of Strasbourg, Strasbourg (France). Art & Architecture in Medieval France, Icon Editions (To grip & Row Publishers), New York (the United States). Tonazzi, Pascal Anthology of Our-injury of Paris, Arléa Editions, Paris (France), Erlande-Brandenburg, Alain Our-injury of Paris, Editions of Martinière, Paris (France), 1997, org/wiki/Cath%C3%A9drale_Notre-Dame_de_Paris Last modification of this page on March 6, 2008 to 19:03.: All the texts are available under the terms of. Wikipedia® is a trade mark of, organization of benevolence governed by the paragraph of the taxation laws of the United States.