Episode 270 - Dior and Tarot Cards

Another stunning design found in the Musée du Louvre Couture exhibit is this beautiful coat by Maria Grazia Chiuri for Dior. Christian Dior was very superstitious. From his signature sprig of lily of the valley to his gold star, he once found on the street on his way to ask for funding for his designs. He would keep both the star and the lily of the valley with him every day until the end of his short life. To this day, both remain essential elements that can be found in Dior's collections and stores. 

The seventh designer and only female in the house's history, Maria Grazia Chiuri, shared a belief with the founder in astrology. Madame Delahaye read Christian Dior’s tarot cards every week and was told that “Women are lucky for you, and through them you will achieve success and you will travel widely”. Chiuri fell in love with the power of the images in the cards and their ability to bring strength and rebirth.

The Tarot cards of today are much different from the cards of the Renaissance. The first cards date back to the 15th century and were a parlor game for the wealthy upper class. Originally called “triumph,” it was an early version of Bridge.  It wasn’t until the 18th century that the cards were tied to astrology. 

The earliest set is attributed to the Visconti-Sforza family of Milan. The Duke of Milan, Filippo Maria Visconti, as well as the richest man in Milan, had been married twice but was still without an heir to his fortune. All that changed on March 3, 1425, when a daughter was born to his mistress, Agnese del Maino. The illegitimate daughter would inherit a vast fortune upon her father's death in 1447. 

Bianca Maria Visconti was just five years old when she was promised to Francesco I Sforza. Sforza came from a family of mercenaries and defenders of Milan against the French invaders. With an eye on money and power, Sforza, Italian for "power," was astute in choosing the young Maria as his third wife. The betrothal also came with a substantial dowry that included multiple properties around Milan. The marriage contract was signed in 1432, two weeks before her eighth birthday; the actual wedding was not held until 1441, when she was sixteen years old. 

Bianca Maria Visconti and Francesco Sforza, by Bonifacio Bembo

Sforza was twenty-four years older than Maria and was spending his time in the beds of other women, even producing many illegitimate children. Maria was not pleased with any of it, and the story goes that she even had one of the women “dealt” with. The couple had ten children, eight of whom survived childhood. 

In 1448, the city of Cremona was attacked by the Venetians, a town where the Visconti family owned a large majority of the property. Unhappy with the response of her husband, she put on an armour suit and charged into battle, forever being known as the Warrior Woman. A title that would speak to another Maria, six hundred years later. 

The creation of the cards could have been at the request of either her father or her husband. The more common story is that they were commissioned as a gift for the marriage of his daughter, Maria Bianca Visconti, to Francesco Sforza.  The second is that her husband created them on their 10th wedding anniversary. 

Created by artist Bonifacio Bembo, each of the 78  cards was hand-painted on thick cardboard. Lapis lazuli, malachite, and precious minerals are used to achieve bold colors, complemented by extensive gold gilding. The major arcana cards feature a gilded gold background and figures painted in contemporary clothing of the time, with family members used for many of the faces, including the couple themselves in the Lovers card. The royal members of the stick cards are draped in blue and gold. Figures of the cups cards are depicted in red and gold clothing, sword figures are in red, and the denier or coin cards are in gold. 

Each of the cards is a snapshot of the Renaissance period with the colors and clothing of the time.  Treated more as pieces of art, the cards have remained in very good condition and were rarely used or played with. Small holes in the top also suggest that they were hung on the wall as tiny pieces of art. Today, seventy-two of the seventy-eight cards survived and can be found in the Morgan Library in New York and at Yale University. You can also find your own set, although a bit different, online. 

Growing up in Rome, Maria Grazia Chiuri was surrounded by the art of the Italian Renaissance, which left a lasting impression on her. Working first for Fendi and then for Valentino, in 1999, she was named the head of the women's collection at Dior. Upon arrival, she leveraged her love of art and research to drive each of the six collections she created during her tenure, which lasted until 2025.

Chiuri, like Dior himself, has always been intrigued by astrology. Upon seeing the Visconti di Modrone tarot cards, she wanted to incorporate them into her 2017-2018 Haute Couture collection. Her third collection for the House of Dior was inspired by a 1953 map drawing of the five continents by Albert Decaris, found in the archives, created for Christian Dior. In the short years of his life after the war, Dior traveled to the United States, South America, and Tokyo, hoping to explore more of the world, but his early death in 1957 put an end to those plans. 

Dior once said, “A complete collection should address all types of women in all countries”, a quote that spoke to Chiuri. Along with the Dior map, it also featured warrior women and heroic female explorers, including groundbreaking pilots Amelia Earhart, Amy Johnson, and Marie Marvingt. The classic silhouettes of Dior, along with the use of Dior's signature grey, brown, cream, and black in masculine shapes and feminine touches, such as belts, pockets, and draping. 

The collection debuted on July 3, 2017, in the shadow of the Dome of Les Invalides, in an open-top tent filled with trees and wooden animals from around the world. After more than six minutes of every shade of grey in beautifully constructed dresses, jackets, and even a custom coat made of the map that inspired the entire collection, came a stunning golden-hued jacket. 

Look 51 is the piece we see in the Louvre Couture exhibit. Chiuri worked with the Maison Vermont to bring each of the tarot cards to life. Created in 1956 by Jean Guy Vermont, the haute couture artisans spend hundreds of hours adding the details that truly make each of these designs stand out. Purchased by Dior in 2012, but still housed in a former hotel particulier on the Boulevard Poissonnière, the house has developed a close relationship with each designer at Dior. 

Two cards in the Tarot deck speak the most to Chiuri, the death and the strength card, and were given special placement on the coat. The death card may sound scary, but it is a card of rebirth. The Visconti image includes a skeleton on a horse before a gold background. At the time the cards were created, a fascination with the macabre permeated art and found its way onto the cards. 

Europe had barely survived the 14th-century plague known as the Black Death that took out as many as 23 million people, up to 60% of the residents of Europe. The tragic event led to a fascination with death depicted in Renaissance art. The figure of death, often referred to as the Great Reaper in Europe or a Camarade, is an image of a skeleton, typically with its skin stretched tightly over its emaciated body. The card is located just on the left side of the jacket at chest level, but is difficult to see in the Louvre due to the pose of the mannequin. There is another on the back. 

The strength card, also known as La Force or fortitude, is one of the four cardinal virtues. Each of the four virtues is found in the Tarot cards: Prudence, Justice, Temperance, and, of course, Fortitude. Representing courage, power, and action, a female figure represents strength while her hands open the mouth of the lion. La Force is often associated with the Greek god Hercules, known for his acts of valor, strength, and courage. The lion represents the ego and the act of pulling its jaws open without fear, as well as the pursuit of prestige.

Chiuri loves how the tarot cards feature an equal representation of men and women. 

The coat is crafted from satin crepe and silk organza, featuring detailed embroidered scrollwork around each card, inspired by a 16th-century archival item at the Maison Vermont. Working with images on silk and backed with felt, small beads were added through embroidery, a process that took over 1,500 hours to complete by hand. It is worn over a black tuille dress with gold thread embroidery evoking feathers of bird wings, and at the bottom, gold rising suns, a repeat from the tarot cards. 

It is genuinely amazing up close, and if you have the chance to see it, be sure to get as close as possible to catch every beautiful detail.  

The Louvre doesn’t have any Tarot cards on display, but it does have eight in its collection that once belonged to Edmond de Rothschild and were given to the museum in 1935. Florentine in design but very similar to the Visconti-Sforza set, they were created around the same time. 

Tarot cards are just a small leap from the allegorical figures depicted in art centuries before. A few rooms away is a 17th century small terracotta oval coupe representing Force. A woman carrying a column on her shoulder in the style of Bernard Palissy, which we will go much deeper into in the next few weeks. 

Just above the Cour Marly, a figure representing Death is located below, with quite an interesting provenance. Standing at almost four feet tall, the allegory of Death was once placed at the entrance of  Les Innocents cemetery. When the cemetery was dismantled, the statue was moved to the nearby Église Saint-Gervais and eventually to Notre-Dame, where it was placed in the Chapel of Saint Guillaume near the tomb of Henri Claude d’Harcourt, until it arrived at the Louvre in 1866.

Episode 269 - McQueen and the Tapestries of Scipio

Keeping on through the wonderfully air-conditioned rooms of the Richelieu wing of the Louvre, we find another tapestry-lined room. The set created for Louis XIV dates back much farther, to the king who rewrote the rules of the monarchy, François I. We owe the Renaissance and the love of all the artistic things in France to him. His mother, Louise de Savoie, raised François and his sister, Marguerite, with a heavy mix of art, literature, and all things Italian Renaissance. Francois became king of France at 20 years old, his mother was just eighteen years old, and a close adviser. It is François who had the Louvre we know today and also filled it with art.

The great chateaux of the Loire Valley built under the reign of François  I were cold and drafty in the winter. The large-scale tapestries helped to fend off the cool drafts and also add a bit of flash to the stone walls.  In 1532, François commissioned a set of twenty-four tapestries made in gold, silver, and silk chronicling the “deeds and triumphs” of Scipion d’Africain from the atelier of Guillaume Dermoyens in Belgium.  The most extensive collection of woven, which once hung in the Chateau de Chambord. During the Revolution in 1797, the tapestries were burned to melt down the gold and silver threads. 

Henri II, son of François I, in 1577 also commissioned a reduced set of ten for Jacques d’Albon, Marshall of France, complete with his coat of arms in the upper corners. Later purchased by Cardinal Mazarin in the 17th century, and then into the hands of Louis XIV. This set was sold during the Revolution, and four have found their way to the Hearst Castle in San Simeon, California.

Under Louis XIV, the superintendent of buildings, arts, and manufactures. The Marquise de Louvois ordered numerous tapestries from the Garde-Meuble. While the Garde-Meuble was experiencing financial difficulties and an effort to keep the weavers busy, Louvois decided to order copies of 16th-century tapestries instead of commissioning artists to design new ones. Eight of the ten tapestries, dating back to 1688, can be found here in the Louvre; the other two are still at the Gobelins. 

With Louis XIV's penchant and adoration of significant mythological and military figures, Louvois knew he would hit a home run with the selection of the Scipio tapestries. Publius Cornelius Scipio Africanus was born around 236 BC in Rome. His father, Publius Cornelius, was a Roman general who took his young son with him into battle. In 218 BC, at the Combat du Tessin in Northern Italy, he witnesses his father and uncle become badly injured and saves them. 

The episode is captured in the first tapestry on the west wall. Tessin, today’s Turin, which you can see in the background of the tapestry. Controlled by the Carthaginian general Hannibal Barca, Scipio’s Roman army of javelin throwers was no match. Hannibal’s army, with the help of the Numidian horsemen, attacks and kills many of the Roman soldiers.  In the lower center of the tapestry, Scipio senior is depicted falling from his horse with a large gash in his head.

Combat du Tessin

To the right of the tapestry is the carton version of the same scene by Fermo Ghisoni. Tapestries are often created from a carton version of the image, painted with tempera on sheets of paper that are then glued together and laminated. Look closely and you can see the sheets on the carton. The image needed to be malleable so that the weaver could then copy it onto the warp threads on the loom before weaving began. The warp is the vertical threads that are pulled with tension in the loom, serving as the design of the image and becoming invisible in the process. The weft is the horizontal threads that create the actual scene of the tapestry. Neutral colors are often found in wool, while bright colors are typically used in silk, which tends to lose its color over time, contributing to the muted appearance of many tapestries today. 

Episode two hangs on the south wall to the left of the Combat. The Capture of Carthage on the Iberian Peninsula was a triumphant moment for Scipio. Using his army of more than 28,000 men, 34 boats, and 3,000 horses, he attacked Hannibal and his army before they could react.  The army stretches on for miles throughout the image, with Scipio in the lower right corner urging his army to fight. The tapestry shows the dominance he had over Hannibal’s army, marking one of the defining moments of his career. 

The Capture of Carthage

The third tapestry depicts one of the most famous episodes of Scipio’s life and can also be found on the ceiling of the Louvre. La Continence de Scipion takes place around 209 BC after his control of New Carthage. On the left, a Roman soldier presents a young lady they have captured, who was betrothed to a Spanish prince. A Roman soldier has come to Scipio, who sits on a throne, and presents a basket of precious items in the hope of being able to pay for her release. Scipio, in turn, orders her release and calls off the marriage, tells the father to keep the items for her future dowry as long as he pledges his allegiance to Rome. The scene is also painted on the ceiling of the Grand Cabinet of the Queen in the summer apartments of Anne of Austria in the Denon wing. 

La Continence de Scipion

La Continence de Scipion in the Anne of Austria summer apartments

The next hanging is another carton, and it is the only version of the story we have in the Louvre. In the scene of 204 BC, after Scipio had conquered Spain, he sought to establish an alliance with neighboring countries to consolidate his dominance in the region; however, he also attempted to gather intelligence and information on his enemy at the same time. Invited by Numidian king Syphax, who was already an ally of Carthage. Depicted in the image on the right is Syphax sitting on a throne, and Scipio is just to his right. Across the table is Hasdrubal Gisco, who looks on quite confused.

In the background, the mantle is covered with gold and silver vases and urns while the staff work quickly to serve the lavish meal of the palace. Scipio was able to win Syphax over to Rome's side. Shortly after, he sets fire to his camp, which we will see in another tapestry.  The size of the carton is reduced from the actual tapestry, which is in the collection of the Garde-Meuble.

We skip to episode six with L’Arrivée en Afrique in 204 BC. Scipio was named consul in 205 BC, and Africa was next on his horizon. Arriving first in Sicily, he gathered more than 30,000 troops and 450 boats and warships. Between late summer and early fall, Scipio and his army arrived in Utica on the northern tip of what is now Tunisia. Scipio is seen on the right, wearing smashing red leggings and wrapped in a blue cloak with stars pointing towards the shore. The chaotic scene on the boat gives it movement, and the waves below splash against the boat's relief of Roman gods. In 202 BC, Scipio finally defeated the Carthaginians.

L’Arrivée en Afrique

The next tapestry, L’incendie du Camp, captures a day that some historians say may have been a bit exaggerated. After the dinner at Syphax’s palace, Scipio gathered intel that he would later use to his advantage. Deciding to set fire to his camp, he caused massive confusion, and the Roman tactician used it to attack his enemy. Scipio is seen on the right upon his horse as he rushes into the confusion. In the upper right, you can see the elephants of the Carthaginian army, which we will examine more closely in the final tapestry.

L’incendie du Camp,

The decisive moment in the story of Scipio comes in the last tapestry, the Battle of Zama. Taking place on October 19, 202 BC, in Zama Regia, near Siliana, Tunisia. The army of Massinissa (Algeria) joined forces with Scipio’s massive army and took on Hannibal Barca and his army, led by eighty war elephants. These specially trained elephants accompanied Hannibal everywhere, including over the Alps to Italy. Each topped with a howdah, the box-like saddle wth high sides held soldiers armed with bow and arrows and javelins. The first line of defense, the enormous elephants, were quickly startled by the Roman horns and began to retreat in chaos. 

Hannibal was no match and was defeated, ending the 18-year war. Scipio was awarded the name Africanus for his heroic role in ending the war in Carthaginian Africa. He would go down in history as one of the most outstanding leaders, inspiring everyone from Julius Caesar to Napoleon Bonaparte, as well as François I and Louis XIV, who had copies of these tapestries created.

Battle of Zama

Flowers are the theme of the other two designs in this room. In a dusty mauve pink Alexandre McQueen suit. Appearing on October 6, 2006, at the Cirque d’Hiver in Paris under a lone crystal chandelier covered in spiderwebs and tuile. The Spring/Summer 2007 collection of McQueen’s label was named Sarabande after a popular Spanish dance that swept through France at the beginning of the 17th century. Even Cardinal Richelieu was known to dance at the Louvre. 

The twenty-ninth collection of McQueen was inspired in part by the 1975 Stanley Kubrick movie, Barry Lyndon. Taking place in mid-18th-century British society, Ryan O’Neil recreates the period's costuming, which comes to life on the runway with a touch of Spanish influence. Romantic, poetic, theatrical, and decaying are all words used to describe the collection. The look we see in the Louvre was the second-to-last of forty-six looks. 

In dusty pink silk moiré and tuille, a very structured jacket features a wide-open boat neck and bell sleeves, paired with a skirt that evokes an abbreviated pannier side hip cage, reminiscent of days gone by. McQueen filled the neck, sleeves, and inside the pannier with fake flowers that overflowed, much like the tapestries that filled the room.  

Although I have strong feelings about faux flowers, the final piece included both real and fake flowers that fell as the model walked, creating a floral trail. Set in the center of the Cirque d’Hiver, which Toulouse Lautrec loved to visit and sketch, the reclaimed wood stage harkened back to a Shakespearean in-the-round stage. An orchestra sat under the chandelier playing Handel’s Sarabande, complete with harpsichord, as the models passed through the center. 

McQueen created seven more collections until his tragic end. On February 11, 2010, he took his own life just days after his mother passed away. His final collection was only 80% complete at the time of his death and was due to hit the runway a month later. On May 8, at a closed and private showing, his final 16-piece collection was unveiled to a select audience.

His longtime friend and muse, Sarah Burton, took over the house after his death and led it until 2023, when she moved to Givenchy. McQueen had also served as the creative director of the French label from 1997 to 2001, before leaving to focus solely on his label. Today, the McQueen label continues under the leadership of Irishman Séan McGirr, part of the Kering, Gucci family of labels. 

Check out the video of the 2007 Haute Couture collection here.

https://www.youtube.com/watch?v=jDId5vLpgU4

Episode 268 - The real story behind Bastille Day

This Friday is the French national holiday known as La Fête Nationale du 14 juillet. In America, most people know it as Bastille Day, the day that they swarmed the Bastille prison to release the prisoners and tear it apart, or that is what most people think the holiday stands for. 

Let’s back up a bit, or 400 years first. Much like the original Louvre fortress, the Bastille was created to protect the city. Charles V added an arsenal and a bastide to his wall that encircled Paris.  The first stone was laid on April 22, 1370, complete with four towers; the fortress would eventually have eight towers, used for the treasury and later as prisons. 

In 1580, Henri IV and the Duc du Sully moved the treasury of France to the Bastille. Under the widow and regent, Marie de Medici, she would later spend all the money. The function of the Bastille as a prison dates back to 1469 under Louis XI, but it was Cardinal Richelieu in the 17th century who optimized the prison for his many enemies. 

Famous residents of the prison include the man in the Iron Mask, who entered on September 18, 1698, into the Bethaudiere tower, named for the man who jumped to his death during construction. After the arrest of Nicolas Fouquet under the orders of Louis XIV in 1663, he was moved to the Bastille on June 18.  Voltaire passed through the doors, and the artist Bernard Palissy, who created his distinct ceramic dishes, died in prison in 1589. 

 In July 1789, while tensions were high in Paris due to the people being fed up with the financial crisis affecting their pockets, people began to revolt. They would seek out guns and ammunition that the government strategically hid away. An angry group broke into Hôtel des Invalides to gather all the weapons and gunpowder held inside. They were outsmarted when over 250 barrels of gunpowder were moved the day before the Bastille. 

On the morning of July 14, a crowd of over a thousand men took to the Bastille. Demanding the release of the gunpowder and prisoners, the crowd grew angrier as these demands were not met. Gunfire rang out and the fight began. Cutting the drawbridge, killing people beneath it when the Royal Army arrived. Over 100 people died and in the end, the Bastille was emptied of all seven prisoners. Yes, you read that correctly, seven prisoners. 

Discouraged that their symbolic attempt realized four counterfeiters, a kidnapper, an accomplice in an attempted killing of Louis XV, and the Count of Whyte, whose family locked him up when he began to suffer from dementia.  Leaders were so upset that they only released seven prisoners that they made one up. The “Count of Lorges” was an “unfortunate old man who was loaded down with chains, half-naked, covered in hair and a long beard”. 

When word reached Versailles and King Louis XIV, he asked if it had been a revolt. Francois Frederic de la Rochefoucauld responded, “No, it was a Revolution”. Less than 4 months later, on October 5, Louis XVI, Marie Antoinette, and their family were taken from Versailles to Paris and their slow march to death. 

On July 15, 1889, Pierre Francois Palloy was given the contract to dismantle the prison. The stones were sold and used throughout France, including being carved into replicas of the prison; one such replica can be seen in the Carnavalet Museum in Paris.  Today in Paris, if you keep your eyes open, you can find a few of these stones.  In 1791, stones were used to build the Pont de la Concorde. One hundred years later, in 1899, as Paris was being transformed by the construction of the new Metro, the base of the Bastille would reappear and be unearthed. 

Just off the banks of the Seine at the Square Henri Galli, the tower base was rebuilt among the foliage. A short walk away, in the Place de la Bastille, where the prison once stood, stands a column in the center, commemorating the revolution of 1830. However, look down as you cross the street, and the outline of the original prison remains today, newly traced with brass markers in the recent revamp of the area. As you take the metro below your feet, look around; you may spot a few more stones. 

Although that’s where the 14th of July holiday got its start, the following year, in 1890, a grand feast and event were held on the Champ de Mars. The Fête de la Fédération marked the first anniversary of the Storming of the Bastille, and even the king and queen were in attendance. More than 14,000 soldiers marched from the Bastille to the Champ de Mars. In front of the crowd, the king took an oath to uphold the Constitution to the nation. Marie Antoinette stepped forward, and the crowd cheered and cries of Vive le Roi and Vive la reine filled the vast space. Over 400,000 people were in attendance, including Lafayette, captain of the Parisian National Guard. 

On March 21, 1880, Benjamin Raspail proposed July 14 as the date of the national celebration. On July 6, 1880, it was officially adopted, and the first military took place at the Longchamp racecourse. It is still held each year on the Champs-Élysées, the longest-running military parade in the world. 

Édouard Manet marked the very first celebration in a handwritten note to Isabelle Lemonnier, complete with watercolor tricolor flags.

Episode 267 - Notre Dame de Paris update

In the last few days of November 2024, as the space in front of Notre Dame once again reopened, there was only one thing I wanted to see: the Point Zero. Sadly, I was disappointed, that is, until yesterday.

Just a few feet away from the visitors' entrance, for one hundred years, a brass marker has been embedded in the parvis of Notre Dame. On April 22, 1769, Louis XV created a patent measuring all roads from a single point in Paris, known as Kilomètre Zéro. It took a bit longer for the marker to be added, precisely 155 years. In October 1924, after a decade of discussion, Georges Delavenne, the President of the City Council, laid the brass plaque at the center of the marker. 

The octagonal stone marker is engraved with Point Zéro des Routes de France around its edges. When all roads lead to Rome, the streets of France lead to Notre Dame de Paris. Fourteen national roads are measured from this point to all points of France. 

There are many superstitions and rituals associated with the medallion. Some people make a wish and toss a coin, while others believe that if they kiss their loved one standing on the marker, it will be a love that lasts forever.  

My favorite was to stand on the marker, spin around clockwise three times, and that means you will return to Paris. I would do this on the last day of every visit to Paris, but that all ended the night of the fire on April 15, 2019. For more than five years, the marker was hidden behind a fence and under protective flooring. The first chance we had to be close enough to it again, I had to find it, although it was still under a protective plate. 

On a sweltering hot morning in front of Notre Dame on July 1, I noticed a few men in bright orange vests working. As I got closer, I was excited to see that they were preparing the return of a new brass plaque. Once again, after six years, Point Zero has returned. The original medallion was removed after the fire and will eventually make its way to the Musée Carnavalt. The City of Paris Maintenance and Supply Center hoped to clean and reuse the original, but it was severely damaged and covered in lead.  Upon installation, the names of the craftsman were added below the medallion. 

After leaving the cathedral, I checked on the plaque, and there it was, as if a day hadn't passed, and not a single person paid any attention. Luckily, I don't have to spin around hoping I return to Paris this time.

My grandparents visited the marker in the early 1980s and snapped a photo. Have they stopped to spin around a few times? They did return many times after that. 

Towers 

Notre Dame also announced this week that the towers will reopen on September 20.

The two towers of the western facade date to the 13th century. Bishop Maurice de Sully, the creator and father of Notre Dame, died in 1196 and never saw the start or even the completion of the facade. Sully became the bishop of Paris in 1160 and immediately pushed for and funded the construction of a grand cathedral, the tallest in the world, on the Île de la Cité, where the chapel of Saint-Etienne stood. 

Construction of the western facade began in 1202. In 1223, the doors and just below the Gallery of Kings were completed, and the north tower began. For 17 years, slowly and day by day, large stones were pulled up the tower until the north tower was revealed in 1240. The south tower was built from 1235 to 1250 and topped with a terrace and balustrade, giving one of the best views of Paris and the roof of Notre Dame. One of my favorite photos of my grandmother is from the top of the south tower, and one I look at every day.

Eagle-eyed visitors may notice that the north, or sometimes called the big tower, is just a tiny bit wider than the south. Four feet wider, the width of one of the statues in the Gallery des Rois. Eight below the north tower and seven below the south. 

On the night of the fire, the flames reached the north tower, and that was the moment that everything became critical. The towers house the ten large bells of Notre Dame, eight in the north and two in the south. The bells of the north tower weigh a combined 18.3 tons, housed in the 19th-century belfry rebuilt by Viollet-le-Duc. As the flames neared the tower, the pompiers of Paris knew they had 30 minutes to contain the fire or lose the entire cathedral. Luckily, as we know, they did just that. 

Two of the eight bells, Saint Marcel and Saint Gabriel, were damaged by thermal shock, and a few of the rafters of the belfry on the SE side of the tower as well. All of the bells were removed from the north tower, and a significant restoration of the belfry was undertaken, including grafting and replacing the oak on the SE side. The entire belfry was lifted in February 2024, 11 ½ inches off the ground, to replace three of the large supporting pieces. 

Over the next two months, the work on the towers will conclude, and they will reopen to the public once again.  With a new layout and additions, the visitors' experience will be enhanced, allowing them to share a bit of the cathedral's history and the renovation process. Entering through the base of the south tower, the new oak staircase, designed by Philippe Villeneuve, Pascal Prunet, and Rémi Fromot, will link to the stone stairs, totaling 424 steps, to reach the summit.

The new double helix staircase of the south tower is the largest in the world. At nearly 70 feet high, the 178 steps weigh over 22 tons and are crafted from 1,200 pieces of oak. The entire structure was constructed inside the tower by 15 carpenters, three cabinetmakers, and one wrought iron worker over 9,200 hours. That is over one year of work, bravo to all those amazing craftsmen and women. 

Along the way, you will find a model of the cathedral, the story of Viollet-le-Duc and the 19th-century renovation, and a glimpse into the belfry, along with the story of the historic Emmanuel and Marie bells. From the top, a view of all of Paris is before you, and even a closer look at the roof and into the forest.

The descent will be from the north tower, with a few landings, and more of the story of our beloved cathedral.

The price of the visit will increase to at least 16€, and reservations will be needed in advance and available at the official Monuments of Paris website only, and available at the "start of September" (In French, that means just a few days before opening) 

Statues 

In an unbelievable stroke of luck, just four days before the fire, the statues on the roof were removed one by one. On April 11, 2019, the twelve apostles flew over the streets to head south for a bit of freshening up. The plan was to return them two by two to Notre Dame to be displayed before they were returned to their original location on the roof. 

In 1842, Viollet-le-Duc and Baptiste Lassus were selected to rehabilitate the grand lady. His early plan included the addition of two spires on t. The former spire had been removed in 1797 due to safety concerns, and an entire generation never knew the church with a spire. Following the renovation of Sainte-Chapelle, Viollet-le-Duc sought to add statues to the roof and consulted Adolphe Victor Geoffroy-Dechaume, with whom he had collaborated on the restoration of Sainte-Chapelle. 

Work began on the Apostles in 1848, and they were more than meets the eye. The inner structure was created with iron and then covered with copper sheets, making for a much lighter statue that could stand far above the streets. In the Périgeux offices of SOCRA, the statues arrived, and the work began. Many of the internal structures had to be partially replaced. Micro-sandblasting with apricot powder removed the outer layer of the patina. A dark bronze colored paint was added and coated with wax, and after a month of work, the statue was complete. 

There are 16 total statues, comprising twelve Apostles and four Evangelists. The apostles are created using four different body types, and Dechaume then made each unique with its head, hands, and attributes. 

For the past few years, the restored statues have been on display at the Cité de l’architecture et du patrimoine museum in the Trocadéro. 

On June 5, 2025, the statues finally arrived back at the base of Notre Dame, awaiting their return to their perch to once again watch over Paris and the cathedral. 

The lower open-work portion of the spire is still under construction. Ornamental workers are finishing the lead covering, which is expected to be completed within the next month. The scaffolding will then be removed, revealing the spire once again. 

On Monday, July 24, at 7:30 p.m., the statue of Saint Paul was the first to be returned to the roof.  Saint Paul, once a persecutor of Christians, had a divine revelation and converted, becoming a preacher. Killed in 64AD with a sword that cut off his head, he now rests his hand on a sword and strokes his beard.  

Hidden within the scaffolding, I can’t wait to see him once again, and all his friends return, and the roof return to the creation of Viollet-le-Duc once again. 

Episode 266 - Louvre Couture Exhibit - Fashion and Tapestry

Following the golden centuries of the Middle Ages and the Byzantine period, we enter the Renaissance, where the importance was on paintings, sculpture, and tapestries. King of France, François I, spearheaded the transition with grand châteaux in the Loire and brought Italian artists to France, including Leonardo da Vinci. 

The French Renaissance slowly began at the end of the 15th century and continued until the death of Henri IV in 1610—a period with a lasting impact, especially on the Louvre. François I ordered the construction of a new palace that would rival those of Emperor Charles V. His vision was continued by his son Henri II and through Henri IV. Architects Pierre Lescot and Philibert Delorme, along with sculptor Jean Goujon, defined the Renaissance, blending classical features and detailed ornamentation visible in the Lescot wing of the Louvre, steps from the exhibition.

With the Middle Ages behind us, we find several of the same elements in the Renaissance rooms. Beginning with a collection of tapestries that fill an entire room, designed just for them. Twelve large tapestries laid out before you date to the 16th century. Les Chasses de Maximilien tapestries depict each month of the year and are dedicated to the theme of seasonal hunting in Belgium. Artist Bernard van Orley designed the cartons between 1528 and 1533, and they were woven at the Dermoyen atelier. Unsure who originally commissioned the set, some sources suggest it was by the Habsburg family, specifically Holy Roman Emperor Charles V, his sister Mary of Hungary, or Their Aunt, Margaret of Austria. 

The central images by van Orley focus on deer, boar, or bird hunting, surrounded by the landscape of Brussels. Each of the twelve pieces represents a month of the year, starting with March, following the Julian calendar, which begins each year on March 25. A closer look at the trees in each tapestry reveals the astrological symbol at the top, which provides a clue to the month they depict. 

Van Orley also includes images of ceramic vases and open work baskets on the left and right edges, with palm trunks wrapped in garlands and flowers for each season. The lower edge, featuring divinities, sea gods, and sea creatures, is thought to be influenced by Raphael’s work in the Vatican, although van Orley had never been there. 

The influence of 16th- and 17th-century tapestries on fashion is still evident today on the runways of Paris and Milan. Capturing the style of the period in wool and gold threads, it is a natural leap to some of the biggest fashion houses and designers. The clothing in Maximilian's collection features puffy sleeves, jackets cinched at the waist, and a wide, almost bubble-like hem that is often open to reveal another color of fabric underneath. The three pieces in this room expertly capture it all, from one of my favorites to the one I have a difficult time even saying the name. 

As you enter the room, on your right is an outstanding design by Karl Lagerfeld for the house I shall not name. Each year, beginning in 2002, the house created a special Métiers d’Art collection, whose purpose was to highlight the superior craftsmanship and attention to detail of the house. While I have very intense feelings about the woman who started the label, it would be hard to overlook how beautiful this collection was every year under Lagerfeld. 

Each year, Lagerfeld chose a different period and location. Past collections were all titled Paris and then linked with a different place, starting in 2005 with Paris-Tokyo. Often, the show was held in the same city at a fantastic location that brought the entire collection to life. Three pieces from the 2010 Paris-Byzance collection were included in the first part of the exhibit, and a few more will be featured before we are finished. 

The piece before you was from the 2012 Paris-Edinburgh that includes Fair Isle sweaters, Scottish tweed, argyle prints, and details influenced by outdoor and hunting life. The show was held in the historic Linlithgow Palace, located in the center of Scotland, where Mary, Queen of Scots, was born in 1542. 

On a cold and snowy December night in the courtyard of the castle, the Scotland of the past came alive with exquisite detail. 

The look presented here features a white, almost translucent silk cigaline blouse with frayed edges at the shoulder, giving the impression of puffy sleeves that can be found in nearly every one of the tapestries evoking 16th-century menswear. The dress is made from a custom tweed by Lesage, featuring pleats similar to those found in sayon or cassock jackets and robes. The bubble-like hem is perfect with the tapestry of December just behind. The standout feature of this outfit is the necklace and belt, both created by Lemarié for the house, which are adorned with pheasant, pigeon, duck, and guinea fowl feathers, also featured on the gold-plated belt. On the runway, the model wore argyle black and grey tights, making it that much more Scottish.

The December tapestry is a special one of the dozen pieces, featuring the image of Ferdinand in the center, the grandson of Emperor Maximilian I. On a horse in a red sayon jacket, he leans toward the boar that has been caught by his greyhounds, including one in a fancy little coat. The trees are bare during this cold winter month, making it the perfect time to wear this incredible design by Karl Lagerfeld.

There is one name that can be found frequently in the exhibit, but few will know, and it is linked to the major French Haute Couture houses, appearing on numerous designs in the exhibit. The Maison Lesage began in 1924 by Albert and Marie-Louis Lesage. Marie-Louis has taken embroidery classes at the Michonet embroidery school, which was founded in 1858 and counted Charles Worth, the first Haute Couture designer, as a client. After purchasing the house in 1924, they renamed it Lesage. They collaborated with the most prominent designers of their time, including Christian Dior, Elsa Schiaparelli, and Cristóbal Balenciaga.

Albert passed away in 1949, and their son, Francois, successfully ran the company, placing a high importance on growing the skills of the Lesage atelier while maintaining a close link to the past and the art of embroidery. Francoise partnered with Yves Saint Laurent, creating one-of-a-kind designs that ranged from the edging of a dress to an entire jacket, including a recreation of a painting by van Gogh covered in sequins that required more than 650 hours of work. Hubert de Givenchy and Karl Lagerfeld collaborated with Lesage to incorporate metal details into a few pieces in the exhibit. The list goes on to include Thierry Mugler, John-Paul Gaultier, Christian Lacroix, John Galliano, and Christian Louboutin. 

In 2002, the company was acquired by Le19m, which Chanel owns, but it continues to collaborate with many other design houses. 

Many of the feather and floral details found throughout the collection originate from ateliers dating back to the 18th and 19th centuries. Maison Légeron began in 1770, creating artificial flowers in silk along with feathers that would adorn the courtiers of Versailles. In 1880, it was purchased by Louis Legeron and run until 2021 by his great-grandson, Bruno Legeron, when it was acquired by Le19m. Legeron created many of the most iconic flowers that have adorned Haute Couture designs from YSL to the heels of Louboutin. 

In 1880, the plumasserie atelier Lemarié was founded by hatmakers Palmyre and Lemarié Coyette. While hats were very much in fashion at the time, the custom flowers and feathers could all be created in-house by Palmyre. The company continued with grandson André Coyette until it was sold in 1996 to Parafecettio, later acquired by Le19m. 

Haute Couture isn’t just about fashion. It’s about dreams, fantasy, and the incredible craftsmanship created by hand. Much like art, and specifically the Objets d’art section of the Louvre, it’s those details — of a tapestry, a Palissy plate, the carved wood on a 17th-century armoire, or even a gilded reliquary from the 14th century —that are truly remarkable. Each and every thing you see is beautiful and created by an artisan skilled to bring it to life, and that is what you should take away from this entire exhibit

Steps away, the Undercover dress by Jun Takahashi is a blend of textures combined to evoke the Renaissance. Japanese designer Jun Takahashi founded his Undercover label in 1993, introducing high-end streetwear in Japan. By 2002, he debuted his spring/summer 2003 collection in Paris, bringing the audience to tears. His collections are a mixture of textures, distressed fabrics, embellishments, and hardware. The design on display in the Louvre is much softer than the menswear of the 16th century. 

The top is created by bonding fabric together to give it a more armor-like structure and an Elizabethan collar. Burgundy faux fur covers her forearms for a cool winter night, and the mustard silk organza honeycomb skirt is reminiscent of childhood easter decorations. Take a close look at the tights and the lower sock-like portion. Unicorns, angels, damasc and Renaissance reliefs, as well as engineering and molecular mapping, give that hint of streetwear Takahashi is known for. 

The Louvre paired the Undercover design with the September tapestry. Ruled by Libra and dedicated to deer hunting. The bat l’eau scene, a French term meaning that the deer has thrown himself into the water, thinking he would evade the hunters, while the dogs and hunters chase after him. Hunters and the nobles gather on the right and look on in very fancy dress for themselves and their horses. 

Many of the tapestries in the collection of twelve share a bit of the Belgian Sonian forest. The largest urban forest that stretches through Brussels, Flanders, and Wallonia, and is protected by UNESCO.  In the September tapestry, in the far distance past the lake, is the Ravenstein hunting lodge in the Groendaal Priory. Created at the start of the 14th century, holding the St Augustine monasteries. Sold off to Emperor Joseph II in 1787 and subsequently destroyed, the forest can now be visited through its long and beautiful hiking trails. 

The last design in this room is from a favorite artist and designer. 

Born in Casablanca in 1949, Jean-Charles de Castelbajac was drawn to military history at a young age. The fascination would transfer to fashion when he created a military jacket cut from an old blanket that John Lennon would later wear.

In 2002, his creations began to expand from the runways and onto the walls of Paris. With chalk in hand, he would quickly draw an angel and sign with a simple +. They started as keepsakes dedicated to loved ones. A love note to family and friends, sometimes with a message and a date that would eventually disappear.  I have come across these for years and would always snap a photo of them. Many only last a few days or weeks, and some find a hidden spot that protects them from the elements. 

I have seen his chalk art on everything from the Louvre to a gate at the Hotel Particulier in Montmartre. Castelbajac also does prints of his angels, including one he did on the night of April 15, 2019. As the news of the fire at Notre Dame de Paris spread, Castelbajac made his way to the cathedral to stand with the faithful. 

Coming full circle, Bishop Ulrich selected Jean-Charles to design the more than 700 liturgical robes that will be worn during the opening festivities and masses for decades. Castelbajac incorporated his signature primary colors with a whimsical and lighthearted response to the church's serious elements. 

Seeing this design by Castelbajac makes me happy on every visit. Created for his Autumn/Winter Pret-a-Porter 2010-2011 collection. The Go! Go! The Diva collection was a homage to Lady Godiva and featured many elements of the reinterpreted Middle Ages and Renaissance that he loves. 

Inspired by the Bayeux Tapestry, Jeanne d’Arc, and the strong women of the Medieval period. The design on display, featuring a tapestry-like fabric crafted by the Craye atelier in Roubaix, is then accented with faux fur. In true Castelbajac fashion, the whimsical addition of Bambi and his love, Féline. The “Medieval Camoflage Bambi” includes a faux fur headpiece in the shape of antlers, completing the Bambi look. Multiple pieces, including shoes, were created for the 2010 collection, such as a sequin-covered Bambi and a strapless dress.

Tied to the tapestries in a way only JCDC can, the large antlers can transfer to the August tapestry. Set again in the Sonian forest near the Les Etangs de la Patte d’Oie pond. A large deer is trapped in the thick bramble while a majestic stag is chased by dogs on the right side. The deer might triumph over the hunters in this one, spurred on by the adorable little Bambi. 

Episode 265 - Louvre Couture Exhibit - The Moyen Age part 3

The last room dedicated to the Middle Ages has a few pieces that always evoke few comments. From a 3D printed dress to a large bronze head that once walked the runway, this is a little strange, but also the closest link to the Middle Ages of any other pieces we have visited thus far. 

The bright blue, long-sleeved shirt by Loewe, at first glance, may look like something you can find at your nearest mall. Featured in the autumn/winter 2023-2024 runway men’s collection of Jonathan Anderson for Loewe, the model strutted the runway without pants and fur boots. A second piece from this collection is reflected in the Renaissance section. 

Irish designer Jonathan Anderson, who has also been named the new head of Dior, is a lover of the Middle Ages and mythology, and this is reflected in this shirt. The back of the shirt buttons from top to bottom, and under the shirt is a set of gold wings attached to the body by leather straps. That isn’t as easy to see on the mannequin, but it adds depth to the rather stunning piece. 

The small works of art in this room reflect the art of the reliquary. Created by the goldsmiths of the Middle Ages to hold precious pieces of the saints of the church. The first reliquaries of the early 2nd and 3rd centuries were more humble and placed in boxes or directly into furniture. The craftsmanship of the Byzantine period, along with the importance of holy relics, led to an explosion in the craft. 

First designed as sarcophagi or caskets that can be seen in Catholic churches today, they became more intricate, taking the shape of busts, feet, angels, and moonstones. Exquisite details on each of these, from the smallest statuettes of saints to the recreation of Gothic structures, to enamel and gems perfectly placed. 

On a marble column next to the Loewe design is a copper angel dating to the early 15th century. The Flemish copper figure once held a candle and is dressed in a long tunic with its wings coming out from its back. A winged reliquary once belonging to Anne of Brittany and a treasure of the Saint Esprit, dating to 1491, once held a piece of Saint Sebastian. Gilded silver and polychromed wood of his sweet little face, complete with rosy cheeks.

A majority of the exhibition is filled with Haute Couture, but here and there we find a few prêt-à-porter pieces. The house of Hermès is known more for its famous handbags than fashion, but we see a playful piece designed by Nadège Vanhée for the spring 2021 ready-to-wear collections. Capitalizing on Hermés' attention to detail, the horn and lambskin dress worn over a form-fitting silk knit dress that could be imagined on the beaches of the south of France. When the show opened, it featured an ivory-colored dress topped with a bone horn piece, and, like a few other items in the show, had changed due to the fragility of the fabric. Today, it retains the same look in chocolate brown, a slightly richer hue. 

The design is also reminiscent of the Medieval period and can be seen in the tapestry of "L'Adoration of the Magi" held in salle 525. Created in 1570 in Belgium by Franz Geubels, examine the clothing of the two standing figures closely. The theme of the Magi can be traced back to the beginning of the Middle Ages. During the last centuries of the Byzantine period, the theme and depiction of figures began to follow a single direction. 

Each figure represents an age and also a part of the world. Melchior, the oldest of the three with a beard, is always the one presenting the gold to the Virgin and represents the Orient. Gaspar, a middle-aged European magi, holds the frankincense, while the youngest Balthasar represents the African continent and is occasionally depicted with darker skin, accompanied by the myrrh. From the choir wall in Notre Dame to every depiction in the Louvre on canvas to tapestry, they always depict the three men in this fashion. 

The sculpture created by Iris van Herpen transcends the boundaries of fashion. The “Cathedral Dress” was first seen in the 2012 spring Haute Couture micro collection. Dutch artist Iris van Herpen spent her formative years reading, studying art and architecture, and surrounded by the churches of Northern Europe.  Graduating in 2006 from the Artez Art Institute, she worked for Alexander McQueen before creating her own house in 2011. 

Fascinated by nature photography and the microscopic details, she brings them to life in a way that is more akin to a constructed sculpture. In 2011, van Herpen used 3D imaging for the first time by a fashion designer, creating a dress that resembled a torso skeleton. 

Working with Materialise, a 3D printing company, the Cathedral dress was created and then placed in a copper electroplating bath to achieve the desired color, evoking the patinated copper often found in the great Gothic cathedrals of Europe. Look closely at every curve and bend, reminiscent of a skeleton of a body, just as much as the bones of a cathedral spire. This isn’t the last we'll see of the genius that is Iris van Herpen in the Louvre exhibit.

The perfect pairing with this dress is just a few short steps away. Within are a few of the beautiful reliquaries in the Louvre collection. It’s easy to glance over these, especially when you see one after another, but take one moment and look just a bit closer. A moonstrance is a reliquary that uses rock crystal or glass to display a relic of a saint and is often created to resemble the moon. The moonstrance we see here was likely created in Germany at the start of the 15th century. Flamboyant Gothic details in gilded copper, such as figurines, feature prominent Christian engravings. A spire holding the Virgin and child on the lid is topped with a crucifix with the smallest engravings. Below, two bells hang near gargoyles that guard the once-precious relic held inside. Other figures include the four evangelists, John, Luke, Matthew, and Mark. The six lobes at the bottom are also engraved with various scenes, including Christ carrying the cross, Christ between two columns, the Virgin and Child standing on a crescent moon, and the Virgin and the angel of the Annunciation. 

The link between van Herpen’s Cathedral dress is also clearly seen in another reliquary in the same case, this one complete with a rose window. A Flemish creation dating to the 14th century, complete with amazing small details. The center of translucent enamel evokes the Divine light of a Gothic cathedral, green on one side with John the Baptist in the center medallion and the Virgin and Child surrounded by blue enamel on the opposite side. 

At the top, the small figure with great detail is that of Saint James the Greater. One of the twelve apostles and closely tied to Saint Jacques de Compastela, the pilgrimage to Spain and the sight of his tomb. Often depicted holding his walking stick, carrying his bag, and wearing his hat bearing a scallop shell. You can follow that same shell through the streets of Paris, which will lead you to the Tour Saint Jacques and eventually to Spain if you feel adventurous. 

The last design in this room may raise a few questions, such as how you would wear this next design. The Daniel Roseberry spring/summer 2023 design for Schiaparelli includes a large bronze bust that wasn’t even the most shocking piece in the collection. Elsa Schiaparelli established her house in 1927, creating a style that combined the avant-garde and surrealism. While Roseberry stated that he never wanted to copy what she did, he did bring the shock value into the haute couture house and continues to push the limits almost a hundred years later. 

Before the 2023 show even began, famous faces walked the steps of the Petit Palais, making headlines on social media around the world before the catwalk even opened. Kyle Jenner stepped out of the car with a large tiger coming out of her chest, and Doja Cat was covered in head-to-toe red Swarovski crystals. This is precisely what Haute Couture is meant to do. Push boundaries, create fantasies and illusions, and in this day and age, flood social media. 

Inspired by Dante’s Inferno and the first canto, Roseberry brought the three animals met along the way from the pages to the runway. A lion for pride and violence, a leopard for lust and malice, and the she-wolf for avarice. Each of the heads was sculpted with foam and was unbelievably lifelike. The bronze head from the runway, which barely garnered any attention after the wild animals, is featured in the Louvre. A large bronze headpiece inspired by the Gaston Lachaise bronze statue in the Jardin des Tuileries. The Standing Woman was created in 1932 and placed in the garden in 2008, nestled under the canopy of trees near the Grand Bassin. 

The last form of religious reliquaries, and the most stylized, is often adorned with precious jewels and shaped like a bust of the dearly departed figure. The bust of Saint Ferdinand dates to the beginning of the 16th century, at least his head does. Beautifully decorated in silver, his tunic and crown are topped with eight florets and cabochons. Saint Ferdinand, king of Castile and León,n was born in 1199. Ferdinand’s reign was marked by his remarkable military victories and deep devotion to the Christian faith. He is especially celebrated for his pivotal role in the Reconquista, the centuries-long Christian campaign to reclaim Spain from Moorish rule.

Ferdinand was canonized as a saint in 1671 by Pope Clement X, a recognition of his exceptional life and virtues. His feast day, celebrated on May 30, serves as a reminder of the significant role he played in shaping the history of Spain and his lasting impact on both the Christian faith and the kingdom he ruled.

While Ferdinand’s rule was primarily focused on the military and religious spheres, his life was also closely intertwined with other European monarchs. He was the nephew of Blanche of Castile, the mother of King Louis IX of France, and the cousin of Louis IX himself. This connection to the French royal family further emphasized his influence within the Christian world of medieval Europe, linking him to one of France’s most celebrated saints.

Episode 264 - Louvre Couture Exhibit - Middle Ages Part Two

This area of the Objets d’art section of the Musée du Louvre is one of my favorites. Filled with reliquaries and items that once belonged to the kings and queens of France and many of the great cathedrals. In the center of the back room is the scepter of Charlemagne, don’t pass by without taking in this detailed masterpiece.

Other fantastic things to see in this room is a gold sweater and silk organza skirt trimmed with gold lace by Lebanese designer Rabih Kayrouz. At 16 he moved to Paris to study fashion and has a different approach when creating his collections by letting the fabric tell him what to do. In 2008 Kayrouz created his label and in 2019 he was awarded his Couture distinction with this collection. This ensemble was the last piece created for the autumn/winter 2019 collection and the sweater created with pieces of lace trim took 4 weeks of work by Cécile in his atelier. At the opening of the exhibit Kayrouz brought his beloved seamstress to see her piece of art inside the Louvre. 

On the same platform is Karl Lagerfeld’s piece from the 2010 “Paris Byzance” Metiers d’Art collection.The special yearly collection reflects the highest standard of art and skills using stones, feathers, embroidery and accessories.  Karl wanted to create a voyage between Paris and the Byzantium later known as Constantinople. 

Incorporating the details of cabochons and adornments that was the sign of wealth and power of the Byzantine era. Just beyond the mannequins to the case that holds the sword of Charlemagne, also known as Joyeuse. Elements of the handle were created as early as the 9th century after the death of the Emperor. First used for the coronation of Philippe II Augustus it would be used for every coronation ending with Charles X with the exception of Henri IV. 

The scrabble sheath from the late 12th century and restored several times is covered in purple velvet and embroidered with gold fleur-de-lis. Both pieces were modified by Biennais for the coronation of Napoleon when the velvet was briefly changed to green. Precious stones of the buckle and top of the shaft  have changed over time but can be seen in many paintings of the French rulers from Louis XIV to Napoleon. One look at the Karl Lagerfelf dress and the belt, the influence can be easily seen.

Don’t miss the simple  Yves Saint Laurent black velvet dress that appears to step right out of a medieval movie set. Created by the man himself that was a frequent visitor to the Louvre until the final weeks of his life in 2008. From the Autumn/Winter 1997-1998 collection The purple velvet dress is topped with a embroidered piece brought to life by the Lesafe atelier, a name found often in the exhibit. Reminiscent of a medieval crown much like the reliquary crown of Liège. A gift from King Louis IX, future Saint Louis to the Dominican convent of Liège in 1267. Behind each angel was a small box to hold a reliquary of a saint. The gilded silver is covered in precious stones, pearls and cut crystals and a stunning work of art. 

One more not to miss in this section is a dress that just begs to be touched. A white crumpled silk taffeta beauty from Charles de Vilmorin that evokes medieval ivory work. The 28 year old designer might be mostly unknown by many but his designs were featured in the opening ceremonies of the 2024 Olympics and filled the Galeries Lafayette for the 2023 Christmas season. 

One of the newest pieces of the entire exhibit, the dress was featured in the Autumn/Winter 2024-2025 collection, his second as a Haute Couture label. Inspired by ivory statuary like the nearby Descent of the Cross of the 13th century. Looking behind on the left side a small pouch was added when singer Chappel Roan wore the dress for a live performance in 2024.

The groundbreaking Louvre Couture exhibit continues to the center of a salle surrounded by large tapestries. The four mannequins in the center of the room are begging for a closer look. A souffle of green silk faille garners all the attention and the first we see of the John Galliano years of Dior.

The Autumn/Winter 2006-2007 dress was inspired by the 1942 black and white film The Devil’s Envoy by Marcel Carné set in 1485. The Medieval castle filled with courtiers spending hours at dances in period costumes in a trompette style. The headpiece features trumpets and the harlequin print, on the runway it extended down to the models feet. 

The entire collection has a bit of everything and his full inspiration was Joan of Arc, Boticelli, Siouxsie Sioux, French actress Arletty all mixed with a goth punk and medieval edge. Another dress from the collection that closed out the show is also featured in the exhibit and one of my favorites. 

Three other pieces round out this room, together they tell a story and individually they are spectacular and will share all the details in the coming days. 

To the left of the Galliano Dior is a coat by Belgian designer Dries van Noten. Descending from a long line of tailors the one time stylist blends a bit of European history with punk and a dash of Japanese influence in each of his collections. The spring/summer 2017 pret à porter looks included tapestries and textiles at times reproduced and printed on cotton like this coat and trousers. 

Belgium is highly regarded for the tapestries of the 16th century, a fact that was not missed by van Noten. While these four pieces are surrounded by tapestries, there is one in the collection that closely resembles the coat. Quite a few rooms away a large Bruges tapestry hangs and is rarely noticed. The Verdure à larges feuillages portant des oiseaux is a beautiful example, so lovely it was stolen by head art looter of WWII Herman Goering. 

The provenance of the piece states it was purchased by Goering in 1941 from Madame Meunier-Batifaud at the Charpentier gallery where it can be spotted in a photo. Goering had it shipped with other looted items to his home Carinhall outside of Berlin where it was discovered after the war by Rose Valland. It is currently in the Louvre collection awaiting the day the proper descendant can retrieve it. 

In the center of the Moyen Age section of the exhibit on one side we find the green souffle whimsical dress by John Galliano for Dior in 2006 and just behind a newer but classic silhouette of Dior.

This beautiful dress by Maria Grazia Chiuri from the autumn/winter 2018-2019 runway embraced the classic shape Christian Dior is known for. An intersection of feminine softness with a tiny nod to the founder.

The house of Dior can be found in each section of the Louvre Couture exhibit and features multiple designers in the house's history. Christian Dior himself opens the show with the Musée du Louvre dress from the 1949 “trompe l’oeil” collection which still displays the New Look he made famous in the golden age of Haute Couture. 

Coming out of the dark years of WWII, a return to glamour was needed. While some designers, one that was known for her collaboration with the bad guys, tried to continue her unstructured designs Dior knew women wanted to step back into femininity. The 1947 New Look featured small waists, structured bodices, more rounded shoulders in beautiful fabrics with flowing and narrow skirts. In the almost 80 years of the house of Dior and a succession, six designers have taken the helm, each have kept the New Look and the original aesthetics of the house in each of their collections. 

Chiuri has always found great inspiration in the art of the Louvre and entire collections have been inspired by paintings and sculptures held within its walls. For this 2018 dress, a 16th century Flemish  tapestry hanging within the Dior office was the inspiration for three pieces. The Concert which features figures surrounded by flowers and birds. The Dior atelier recreated the flowers printed on silk with hand embroidered animals and a few flowers including one close to the heart of founder Christian Dior. His beloved lily of the valley was added to give the 16th century design a one of a kind feature that Dior wore in his lapel every single day. 

The classic lines of this dress transports you back to 30 avenue Montaigne and in front of the master himself. Visit the tapestry that inspired it a short walk away in salle 509. 

The Louvre has more than 400 tapestries in its collection with a fraction of those on display. However the most well known tapestry is kept across the river in the Cluny museum. La Dame à la Licorne, or the Lady with the Unicorn is a set of six 15th & 16th century tapestries depicting an allegory of each of the five senses. 

The last design in this salle is a one of a kind coat by Marine Serre from her pret a porter autumn/winter collection of 2023-2024. The young French designer interned with Alexander McQueen before his death and later Dior and Balenciaga. Her first collection was unveiled in 2017 at just 26 years old and received the LVMH Young Creators Award. 

Her collections are often a mix of repurposed items and appeals to a younger market. The coat on display begs for a closer inspection. Serre found tapestries and rugs in a flea market in the south of France and created this amazing coat. The arms are made up of copies of the Lady with the Unicorn sight tapestry. 

Dogs, flowers, animals and a woman that could be a Manet model make up the panels of the coat. Serre wanted camouflage for a woman in an apocalyptic world. Under is a jumpsuit covered with her crescent moon icon, the same adopted by Henri II and Diane de Poitiers. 
The Louvre recently announced that the exhibition extended through August 24. 

Going to miss it? Check out my YouTube video and Podcast where I will share every single detail. 

Episode 263 - Louvre Couture Exhibit part one

The Louvre Couture exhibition is paired with the Objet d’Art collection that weaves through the Richelieu and Sully wings. Items that date from the Middle Ages and Byzantine period to the items once owned by the last Kings and Emperors of France give life to more than 100 pieces of fashion from 45 brands.

Curator of the Objet d’Art collection Olivier Gabet previously oversaw the Musée des Arts Decoratifs which held a monumental Christian Dior exhibit in 2017 that celebrated the house's 70th anniversary. If you saw this exhibit, you would never forget it, it was stunning and the precursor to the Galerie Dior museum which opened in 2022. With a history of blending fashion and decorative arts together, the Louvre as the largest and greatest museum in the world was a perfect place to hold an exhibit.

Truth be told when I originally heard a year before the Louvre was going to hold a fashion exhibit I was against the idea. There are more than 175 museums in Paris and plenty to showcase fashion. However, at the pre opening event surrounded by the designers and fashion big wigs the exhibition was unveiled and I was flabbergasted. One room after another, each more fabulous than the one before. A few items are even paired with the piece that inspired the designer and paints the story of how art imitates fashion without saying a word. 

 It has drawn visitors to a part of the museum that would never venture there before, unless lost.The Louvre like every  other museum in the world is trying to address the need to evolve programming within their walls to bring in younger audiences. Current director and first woman to hold the title since its opening in 1793, Laurence des Cars has been adding more musical, dance and theatrical events and to kick off the first ever fashion exhibit a Met Gala like dinner was held in March that made its way through social media. 

The exhibit has worked to draw a crowd and the rooms that are normally empty are bustling with people including many that only come to take photos of themselves. Gabet and Des Cars hoped that the exhibit would also appeal to Parisians that normally avoid the museum for fear of being trampled by tourists. 

The exhibit is split into four distinct sections beginning with the Byzantine and Middle Ages, followed by the Renaissance, Baroque and 18th century, and ending with the 19th century in the so-called Apartments Napoleon III. The fashion however dates mostly to the last twenty years with a few vintage accessories and a recreation of a 1949 Dior treasure.   

The exhibit runs through the first floor of the Richelieu wing and a portion of the Sully wing. Just past the elevators and opposite the Angelina Cafe. Standing tall on the mirrored riser is a reproduction of Christian Dior’s 1949 dress, Musée du Louvre. In just his third collection Dior drew inspiration from the Paris streets and monuments and named each piece after a beloved location. 

The black and white stunner named for the museum was purchased by Gala Dali, wife of Salvador who purchased it at the runway show on June 27, 1949 at 30 Avenue Montaigne.The dress remained in her collection and much too fragile and damaged to be used. Using the original drawing by Dior, notes and photos the dress was recreated in 2024 in the Dior workshop in Paris. 

White faille Française is adorned with black chenille flocking, wool and delicately studded with rhinestones and glass stones. Topping the mannequin is a hat also newly created by the Stephen Jones Millinery house in a style of Dior but not the one in the original sketch.  

The first section of the exhibit begins just through the large entry and features fashion inspired by the Middle Ages and Byzantine art. The two styles and periods overlap beginning in the 4th and 5th centuries and ending in 1453  with the fall of Constantinople. From some of the darkest moments in history to the high point that brought us Gothic cathedrals, gilded and bronzed items and carved ivory, it's one of the most notable periods of time that continues to inspire.

Byzantine art was a major inspiration for the designers before the turn of the 20th century. The first courtiers Charles Worth and Paul Poiret recreated the golden themes of Constantinople. Reliquaries covered in gold and precious stones, crowns and carved ivory pieces even hundreds of years later have their moment on the runways of Paris and Milan. 

Gianni Versace, Dolce & Gabbana, Yves Saint Laurent can cite specific exhibits and pieces that would go on to inspire an entire collection. 

The first dress you find as soon as you enter is a golden beauty by Gianni Versace. Created for the Autumn/ Winter collection of 1997 - 1998 which was also the  last collection of the Italian master. 

In May 1997, Versace visited the Met museum and the “Glory of Byzantium” exhibition and discovered a reliquary with a Greek cross that drew him in. In his final runway show on July 6, 1997 held within the Ritz the scene was set with the perfect backdrop of Greek columns  surrounding  the swimming pool. Models glistened in shimmering gold and silver fabric with topaz and beaded crosses. Nine days later, Gianni would be killed in Miami. 

For the gold metal sheath dress shared in the Louvre, Versace and his atelier worked for more than six years to create the perfect metal fabric that was thin enough to drape. They certainly mastered it in this dress and its lovely draped neck and the way it shines in the light as you move around it. 

The Louvre paired the Versace dress with an 11th century Byzantine reliquary that once held a piece of the True Cross. The gilded silver and copper box created in Belgium was brought from Constantanople by a Belgian prince returning to Liège from a crusade. Inside a piece of the True Cross that held Christ in the final moments of his life. Given to an abbey that later closed, it was transferred to a private collection and eventually donated to the Louvre on June 3, 1929. 

Viewing this exhibit isn’t just about the couture, it is just as much about the pieces of art surrounding them. A conversation between fashion, art and the viewer. 

Episode 261 - Art of the Transept of Notre Dame

The transepts of Notre Dame hold a few painted masterpieces including four of the May paintings. On the Northwest wall two episodes in the life of Saint Andrew. 

At the top, the Martyrdom of Saint Andrew by Charles Le Brun. The 1647 Les  May was painted when he was just 28 and a year before he created the Royal Academy with Anne of Austria, mother of Louis XIV. In 1664, Le Brun became the painter to the king and the  mastermind behind the decor of the Chateau de Versailles. 

Saint André, brother of Saint Pierre and disciple of Jesus, was known for being crucified on an X-shaped cross. Instead of placing him on the cross, Le Brun depicts the moments before as they have just ripped off his clothes and prepared him to be tortured.  André’s arms and legs are apart, recreating the cross as he looks up at the angel gazing at him with the palms of heaven. 

Just below is the moment before the death of Saint Andrew painted by Gabriel Blanchard le Neveu. The 1670 Les Mays, Saint André Quivering with Joy at the Sight of his Torturer. 

Blanchard is a defender of color and a follower of Rubens. He depicts the saint in the moments before his torture. Positioning his body in the form of a cross as he looks up to the man who will torture him. It is the largest of all the Mays created and perfect for the north transept.

In the center of each of the transepts are the wood door cases created again under Viollet-le-Duc. The angels with musical instruments at the top suffered damage when the fire and transept vaults fell and had to be recreated. 

On the North wall, notice how the light casts a shadow in the corner of the painting of the Adoration of the Shepherds by Jeröme I Francken. Painted in 1585 for the Eglise des Cordeliers and commissioned by Jacques-Auguste de Thou in memory of his father Christophe seen in red on the left. Many of the faces of the Thou family are featured as the adoring shepherds. 

On Easter Sunday 1982, an aerosol can exploded in the south transept and damaged chair and the lower corner of the painting, thankfully restored. 

Still waiting for the addition of the 14th Les Mays painting to arrive that will hang above. The 1693 Les Mays by Joseph Parcel depicts the Preaching of Saint John the Baptist. Once in Notre Dame from its creation to 1797 when removed during the Revolution to Versailles until its return by Napoleon in 1802. Since 1938 it has been in the Musée des Beaux Arts in Arras until its eventual return to Notre Dame sometime this year after restoration. 

The Liturgical platform represents the Last Supper

Baudin Chateauneuf, near Orleans, created the new platform after the original was destroyed the night of the fire. The 82 feet by 26 feet plateau weighs 110 tons and is made of a steel frame where 126 slabs create the steps and the 156 slabs of the top platform. Modern tech was added, including a sound system, electricity, and ventilation. 

Moleanos limestone and Hainault blue stone from Portugal and Belgium were carved in Suresnes. The entire piece was built before being taken apart and brought to Notre Dame, where it took two weeks to rebuild. It was finished by the end of summer 2024. 

Cathedral and seats   Guillaume Bardet, sculpteur et designer •
Barthélémy Art, fondeur • 2024

The archbishop chose a French designer from 69 artists who had submitted their designs for the new liturgical furniture. Made of bronze, the new altar and furniture represent the cathedral’s past, present, and future. 

The altar is located below the center of the transept and is topped with the keystone of Our Lady, which was destroyed when the spire punched through the vaults. In many ways, the church’s heart saw the worst damage the day after the fire. Who could forget the photo that emerged with the golden cross in the choir over the burnt remains on April 16? Piles of burned timber and stones that had made up the vaults since the Middle Ages had to be carefully removed and cataloged.

Bardet was chosen from 70 candidates and the only one that presented his idea in bronze. After a visit to the cathedral in 2023 and the sight of how light the stone was he knew he couldn’t compete with the color and a stone altar would disappear. Beside the altar is the ambon, the T like stand that is placed in a stone base that represents an open book, the support of the Divine word. 

Another item is placed as you enter the cathedral in a direct line to the altar, the baptistery. The bronze base is topped with a polished mirrored bronze to represent the river that baptised Christ. It’s only used once a year on Easter. 

The new liturgical plateau on which the altar is placed also had to be recreated. The Baudin workshop in Chateauneuf-sur-Loire constructed the Moleanos limestone and Hainault blue stone in stages. The metal frame also had to incorporate the state of sound and technology in the 2152 square feet space. Weighing over 110 tons, it was constructed off-site and built before it was dismantled and installed in Notre Dame, which took two weeks to complete. 

Madonna and Child, known as "Notre Dame de Paris"

Mid-14th century

This statue comes from a chapel Saint Aignan (eN-nee-youn)l in the former canons' cloister on the Ile de la Cité. In 1818, it was placed on the façade, on the Portal of the Virgin. It was placed in front of this pillar in 1855 and has since been prayed at "Notre Dame de Paris".

Mary is key to the Christian mystery of the Incarnation. The eternal Son of the Almighty Father becomes man: He was born of a woman. What is offered to the faith of every believer is a personal experience of Mary, to whom Jesus, on Golgotha, entrusts all disciples of the Church:

"Behold your Mother, behold your Son." Mary is the Mother of Jesus, the Mother of God, and the Mother of the Church

South Transept decoration 

Southwest wall

Plaque commémorative de la messe de fondation dite « de la Libération de Paris (25 août 1944)»

Plaque commemorating the founding mass of the Liberation of Paris (August 25, 1944)"

On the 25th the bells of Notre Dame including Emmanuel rang out. As the first notes were struck the churches of Paris joined in. Although the mass was actually the next day, August 26 in front of General Charles de Gaulle and General Leclerc. The Magnificat mass, reserved for special occasions like the reopening of the cathedral in December 2024 was performed while gun fire from revolting Germans continued just outside the doors and also high above the nave. 

Germans had entered the cathedral and were firing onto the crowd and several people were shot and injured. Bullets ricochet off the transept vaults leaving marks that were visible until the night of the fire. The priests and choir never stopped, they continued on with the mass as if nothing was happening. 

Statue de sainte Jeanne d'Arc vierge, co-patronne de la France (V. 1412-1431)

Charles Desvergnes,  sculpteur • vers 1920

In 1431, Jeanne d'Arc’s mother, Isabelle Romée, came to Notre Dame de Paris and asked that her daughter’s memory be given the weight it deserved. He sent a letter to Pope Callistus III, who in turn asked Jean Jouvenel des Ursins (chapel Saint Guillaume), the Guillaume Chartier, bishop of Paris, and Richard de Longueil, bishop of Coutances, to review her story. 

On July 7, 1456, a statement was released agreeing that the “sentences that concluded it are tainted by fraud, slander, malice and injustice. We declare that Joan is pure of these sentences and as far as we are concerned we purify her entirely”. 

Jeanné d’Arc was canonized in 1920, and the same year Charles Jean Cléophas Desvergnes was asked to create a statue of the Patronne saint of France.  Inaugurated May 7, 1921

Southeast wall paintings 

Top: Le Triomphe de Job ou Job rétabli dans sa prospérité

Guido Reni 1636. The Triumph of Job or Job returning to Prosperity

Seized by Napoleon in the first Italian campaign from the church of Santa Maria dei Mendicanti in Bologna, on the altar of the chapel of the silk workers guild. Brought in 1797 and exhibited in the Louvre in 1798. Moved to Notre Dame for the Te Deum under Napoleon on April 28, 1802, and given to the cathedral on February 25, 1811 

The scene is from the last episode of the Old Testament book of Job. He sits in a throne on the right, where he receives offerings and gifts from his family and friends to restore his wealth, and is awarded for his lasting faith during the many trials. 

The painting has been copied in drawings by many artists, including Fragonard in 1761. 

The stretcher the painting is on is very different from any others in the cathedral. The rounded top and sides are in a special self-tensioning chassis that can be easily adjusted. The springs had become very dirty and corroded over time and were taken apart and cleaned, and were a great find for the restorers. 

Bottom: 

 The Stoning of Saint Etienne by Charles Le Brun Les Mays 1651

The second of Le Brun’s paintings is held in Notre Dame. Saint Etienne was a key figure in the churches of Paris and the namesake of the first church on the Ile de la Cité, where Notre Dame now stands. 

Saint Etienne was condemned to death by stoning in Jerusalem, as seen on the left side of the painting. The first Christian martyr is on the ground while his executioner pulls his arm back to strike him, and bystanders look on. Etienne looks up to the angels, Jesus, and his father. The top 10 inches of the painting were created later and sewn to the canvas to match the approved dimensions.  

Episode 260 - The Rose Windows of Notre Dame

When Notre Dame was constructed in the 12th century, the cathedral was slightly smaller than what we see today. The nave chapels weren’t part of the original plan and were later added with the encouragement and deep pockets of the local guilds and wealthy families. 

Just as the western facade was complete, the clergy wanted the transept altered, especially the outer facades to complement the highly detailed front. The northern side was more open to view and was the first on the list. Jean de Chelles, the first of the named architects, planned to include a larger rose window and door between two Gothic decorative arches. 

De Chelles devised the initial plans for the south facade, which began in 1257 and was carried out after his death by Pierre de Montreuil. The south transept exterior has more delicate features, which added to issues that would have to be resolved numerous times in the following centuries. 

The first version of Notre Dame was very dark. In the 1250s, under Jean de Chelles, the two large rose windows became the most dominant features of the transept facades. Other than the rose windows, we know little about the Medieval windows. 

View of South Transept

The 12th-century windows were mainly donations from other churches. Abbot Suger donated a window of the Triumph of the Virgin. In the north transept, a grissale window with scroll work covered in plaster was discovered, and it is believed to be dated to the late 12th century. 

A Gothic cathedral is all about light, giving the appearance of lightness, and capturing the Divine light. The use of stained glass in churches began in the 12th century, and it helped tell the stories and lessons of the scriptures.  All one has to do is look up at the windows on a beautiful sunny day to see the colors paint the blonde walls of Notre Dame to see this effect in all its glory. 

In the Middle Ages, glass was never white but had more of a green and pink tinge. Next came the grissale glass, which allowed the light to go through, with a filter and varied tone, giving them life and light.  

The colors changed over time. In the 12th century, many of the striking colors we see today weren’t available in early glass. Yellow was used for gold, which wasn’t available for the next few hundred years. Cobalt blue, a mainstay and the color of the Virgin, was used prominently until the 13th century, when Manganese blue was a less expensive and more vibrant color.

Over time, the stained glass windows fell out of favor until Viollet-le-Duc took on the task of the most extensive restoration in Notre Dame’s history and returned color to the cathedral once again. 

The stained glass windows of medieval Notre Dame were removed entirely under Louis XV and replaced with clear glass,  except for the rose windows. Those changes were then again erased under Viollet-le-Duc. Not much is known of the original 110 windows except for the writing of Pierre Le Vieil, who was also a glazier in 1774. 

Viollet-le-Duc’s wish was to return Notre Dame to the art and color of the Middle Ages. The time when color was used on the walls and statues, before the stained glass became all the rage. Tapping the greatest glaziers and glass painters of the time, the stained glass of Notre Dame has been used as the pinnacle of decorative glass for many churches including similar windows in the Eglise Saint Germain des Prés. 

The transept rose windows. 

The first rose window appeared in the Basilique Saint Denis, north of Paris  around 1130 and commissioned by Abbot Suger. We don’t know the names of the first architects of Notre Dame in the 12th century but the names begin to emerge with Jehan de Chelles who was tasked with making the transept bigger then adding the rose windows allowing the Divine Light to enter the cathedral. 

It was in the year 1245 that De Chelles began the north window featuring sixteen petals and eight six windows relating to the Old Testament. In the center the Virgin sits with the Christ child on her lap. De Chelles used figures of the Old Testament including the prophets, Kings of Judah and Israel, judges, priests and patriarchs. Each with their head turned towards the Virgin they hold a scroll with their name. Only a handful of figures used and differentiated by their attributes and banner. 

The windows of the north side of the cathedral incorporate cool colors. The blue, greens and violet colors give more depth to the windows that are not lit by direct sun giving a depthness to the rose that is somewhat hard to see from the ground. The north window for the most part is filled with the original 13th century glass but there are a few additions added in the 18th century. Adolphe Napoléon Didron and Édoard Amédée replaced three windows with the Pharaoh's Dream of Joseph into the second layer and two medallions in the lower corners. 

With the western rose window at the entrance these two windows hold the largest amount of the original glass. The south rose window is another story, a tale of many chapters. 

The south rose was installed last, of the three. Beginning in 1258, the twelve spoke rose focused on the New Testament. De Chelles began the window and was finished by Pierre de Montreuil in 1270. In the center is Christ in majesty after his death. The four petal center also features the figure of each of the evangelists. The eagle of Jean, a young man of Matthew, lion of Marc and ox of Luc. Difficult to see from the floor of the cathedral.

Surrounding Christ posing against a blue background are seated apostles. The next layer are twenty four medallions of martyrs and confessors against red backgrounds. The third circle is doubled and the smaller glass windows are of standing female figures. Some stand in front of architectural arches and represent martyrs, wise virgins and foolish virgins. The trefoils around the edge include angels, some holding crowns or candles. 

A quick glance from the center of the transept of the church at each window a clear differentiation can be seen. The north window includes eighty one windows, while the south has eighty five. The two roses on close inspection are quite different. The south is more compact in size and the windows are smaller although the circumference of the two windows are the same. 

The south window has gone through many changes and restorations and the glass spans four periods of time. 

Guillaume Brice  in 1727 replaced a few of the 13th century windows into the second and outer ring including the Flight into Egypt, Judgment of Solomon and Annunciation. It is at this time that eight windows of the Life of Matthew were added dating to 1180, making them the oldest known in the Cathedral. 

North Rose Window

The wall of the south transept like the north was built in the mid 13th century, although the structure of the south wall had to be rebuilt and restored a few times. While Louis XIV carried out a complete change of the choir, it’s his grandson Louis XV that left his mark on the windows. With the urging and funds of Cardinal Noailles  in 1727 & 1728 the rose window was removed and the casings reinforced. This made it the perfect time for Noailles to add his crest into the center of the window replacing the 13th century Christ.  

Enter Viollet-le-Duc and his overall inspection of the cathedral which revealed just how damaged the south window was. The metal casings of each petal had bowed out and the glass was close to falling and had even broken in spots. 

The only answer was to remove all the glass, destroy the casings and rebuild the window. Viollet-le-Duc shifted the window to the right one petal creating a straight horizontal and vertical center. Eight of the windows were removed and replaced with new windows that matched the same figures. Two of the 13th century windows can now be seen in the Chapel Saint Guillaume in the southern chevet just steps away.

It was at this time that Viollet-Duc had the master glassmaker Alfred Gérente remove the central window of Noailles and create the window of Christ and the four evangelists. 

In 1856 a special commission was created to study the glass and colors of Notre Dame with Viollet-le-Duc. Hippolyte Flandrin that would cover the Eglise Saint Germain des Pres in color as well as his rival Eugene Delacroix and Victor Regnault of the Sèvres atelier, three men that really knew something about the use of color. Judging the early windows Viollet-le-Duc created and giving them the nod of approval. 

Just below each of the rose windows of the transepts are the galleries created under Alfred Gérente and a new addition in 1862. The south transept includes prophets with the four central holding up each of the evangelists. Isaiah with Saint Matthew, Jeremiah holding up Saint Luke, Ezekiel and Saint Jean and Daniel with Saint Mark. 

The north gallery finished in 1865 of the eighteen kings of Judah standing in front of a 13th century grisaille. The kings are also found on the facade, but that’s a story for another day. 

Episode 257 - Eugène Delacroix

Eugène Delacroix, the leader of the Romantic Movement, was born on April 26, 1798. His use of color and light was unnerving to the French artists when he first began, but he went on to inspire the Impressionists. 

Born to Victoire Œben, who came from a line of cabinetmakers on both sides of her family. Her father, Jean-Francois Œben, was the favorite cabinetmaker to Louis XV, XVI, and Marie Antoinette. Lawyer and politician Charles Delacroix moved the family from outside Paris to Bordeaux, where he served as Prefect until his early death in 1805. 

Eugène, the fourth child of the family, was just five when he lost his father. Older sister Henriette was born in 1782, and brother Charles Henri was born in 1779. Another brother, Henri, was killed at 23 in Napoleon’s Battle of Friedland. After the early death of his father, young Eugène and his mother moved to Paris to live with his sister, who had married Raymond de Verninac, a Swedish diplomat who later sat for Jacques-Louis David. 

In Paris, Eugène attended the Lycée Impérial, now named the Lycée Louis-le-Grand in the Latin Quarter. His cousin and artist Henri Riesener introduced him to Neo-classical artist Pierre Narcisse Guerin in 1815, under whom he began to study. Alongside artists Ary & Henry Scheffer, Léon Cogniet and Théodore Géricault. The next year, in March 1816, he enrolled in the École des Beaux-Arts, still studying under Guerin and also as a copyist in the Musée du Louvre. 

Not the most patient of artists, when it came time to wait for the paint to dry before applying the varnish, he was often criticized by most of the serious artists of the time. In 1825, a visit to England opened up his creativity with the inspiration of the stage and the written word. Shakespeare’s Hamlet, Faust’s Goethe, and Lord Byron found their way into his art and even gave him opportunities to illustrate books and sheet music. 

While he may have been trained by a Neo-Classical artist, he retained little of the style’s values and forged his own path, which Géricault, the first king of the Romantic period, also inspired. 

When Delacroix saw Géricault’s masterpiece Raft of the Medusa and even posed for one of the figures, he ran through the streets, excited at what he had seen. It was 1918, and at just 20 years old, he had a long career ahead of him.  Ingres, who was holding the reins of the Academy tightly, clashed with Delacroix, and these artists clashed with these nutty ideas that were starting to spread through Paris. However, Romanticism was seen long ago in the 16th century and was influenced by Rubens. 

Like Géricault, Delacroix was painting horses in the 1920s, although his paintings of large wild cats are more well-known now. In 1824, his first painting to be submitted to the Salon was a scene of the April 1822 Massacre of Scio, of the Turks killing the inhabitants of Scio, and a major moment in the fight for Greek independence. Since he had not been there, he spent his time in the National Library researching Greek costumes to set the scene as accurately as possible. 

His most recognized painting is La Liberté Guidant le Peuple, painted in 1830 for the Salon of 1831, and is now proudly on display in the Musée du Louvre. But let’s rewind and see what this painting is all about. 

More than one revolution marked the timeline of France. Most know of the big one that resulted in the beheading of Marie Antoinette & Louis XVI, which began in 1789. Four decades later, the people would rise up again against the brother of Louis XVI. Charles X had taken the throne after the death of his brother Louis XVIII on September 16, 1824. Things would get worse for Charles in 1830 when, on March 18, he dissolved the Parliament, and as the press spoke up against him, he censored them on July 25. 

On Monday, July 26, more than 50 newspapers were forced to stop the presses. The next morning, the owners gathered and vowed to fight back. As the police arrived at the newspapers’ offices to take their presses and newspapers, they found the workers waiting and screaming. By the afternoon, the editors, owners, journalists, and printers began to march into the center of Paris. The Place Vendome, Place de la Bastille, and the Place du Carrousel saw large crowds of outraged citizens whom the police were no match for. 

On July 28 in front of the Hotel de Ville, the Garde Royal was quickly outnumbered. The angry crowd gathered every cobblestone and projectile to build barricades and also tossed them at the police force. At this moment, 32-year-old Eugene Delacroix was just down the way at his studio at 15 Quai Voltaire and was moved to capture this penultimate moment of the Trois Glorieuses Jours. 

Delacroix’s good friend Théodore Gericault had just three years earlier painted the monument Raft of the Medusa. The current event painting won plenty of fans and skeptics. History paintings were deemed the pinnacle of all art styles in the lexicon of art, but they rarely were painted so close to the moment of the event. Delacroix said, “If I can’t fight for my country, I will paint for it,” and he did just that. 

For three months, he sketched and painted from September 20 to mid-December 1830. An astonishingly quick period to create such a large piece, and brought the entire moment to life. Displayed in the Salon of 1831, under the title Scenes de Barricades, it was met with a wide mix of criticism. Many thought the allegorical woman was dirty, displaying her hairy armpit and filthy feet, while the nude man and his visible pubic hair were right at eye level. 

The entire scene was one of the lower and upper classes and men of all ages united. This was exactly why the Three-day Revolution is marked as such a defining moment in French history, as told in art and remembered by the July Column in the Place de la Bastille. It was the mix of all classes that stood up against the monarchy. While the first Revolution began with the poor vs the monarchy, the July Revolution saw all classes in arms together. 

At the Salon of 1831, the State purchased the painting for 3000 francs, but it was only briefly displayed in the Musée du Luxembourg. Adolphe Thiers was worried it would inspire another uprising and had it removed and returned to Delacroix in 1832. The painting hid away in the Val d’Oise with his aunt Felicité Riesener until 1848, when it returned to Luxembourg. It was hidden until the 1855 Universal Exhibition, when he also had to darken her cap. Special permission had to be obtained for the exhibition after the painting went back into storage. 1863 when it was finally returned to the public, it was too late for the master to see it hung; the father of the Romantic movement was gone. In 1874, it finally moved to the Salle Mollier of the Louvre, where you can still see it today. 

One day, another artist, Frederic Bartholdi, visited the Louvre and saw our lovely Delacroix Liberty, which inspired his very own design. Today, Delacroix’s well-known painting has been copied onto clothes, reimagined in billboards, inspired other artists to adopt it as their own, and projected onto the side of a plane, and even my beloved Swatch watch. She is brought out every 14 juillet and any other moment of immense French pride, and I always smile when I see her. 

In 1832, Delacroix was one of the very few artists invited to visit Morocco and Northern Africa, where he had a chance to see firsthand the Orient that would inspire his next period. Most artists recreated stories on canvas without ever setting foot on the continent, but Delacroix was even invited into a harem to sketch scenes that few men were able to see. He filed numerous journals and created over 80 paintings, including the Women of Algiers in the Apartment that hangs in the Louvre. Picasso went on to copy it numerous times. 

Well known for his large murals in churches and government buildings, he believed artists should devote their time to large tableaux in public places, as that was the way to be remembered. His frescos would be added to the Assemblée Nationale, Palais du Luxembourg, and, of course, Eglise Saint Sulpice. 

 In 1850, architect Félix Duban, who was restoring the Galerie d’Apollon, asked Delacroix to paint the center of this grand room. At the time, the only way for an artist to hang in the Louvre was ten years after their death. Delacroix loved the Louvre and dreamed of seeing his paintings hung there; with the paintings of the Galerie d’Apollon, he would fulfill that wish. Friend and author Charles Baudelaire said, “Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible” after seeing his finished painting on the ceiling in the Louvre. 

In 1849, he was commissioned to paint the baptismal chapel of Saint Sulpice. Before he started, it was changed to the Chapel of the Angels and given free rein to paint anything he wanted as long as it included angels. The two frescos were painted with wax added so the colors would remain vibrant even a hundred years later. On the left of the chapel is Jacob Wrestling the Angel, and on the right is Heliodore Expelled from the Temple; each was painted directly on the wall and took over ten years to complete when commissioned. Saint Michel is painted on a canvas high above and added when the frescos were complete. 

Delacroix was never married, but he did have a few relationships with married women over the years, many of whom were also artists, including Eugenie Daltin and Elisa Boulanger. He did have a loyal companion and friend, Jenny Le Guillon, whom he hired in 1835. She would remain with him until the end of his life, cooking, cleaning, and caring for the artist who was happiest in front of his easel. 

While painting the frescoes of Saint Sulpice, he wrote to a friend that this project would kill him. Sadly, he died after a long illness on August 13, 1863. His funeral was held on 17 August at the St-Germain des Prés church, and he was buried at Père-Lachaise.

 In his will, he asked to be buried in the heights of Père-Lachaise in a place somewhat removed, “there will be neither emblem, bust, or statue”. The subtle dark volcanic tomb in the shape of a sarcophagus, like that of Scipio the Roman general and bearing only his name, is understated, much like the man.

 In the Jardin du Luxembourg, under the shade of the trees, pull up one of those green chairs to Jules Dalou’s Monument to Eugene Delacroix, dedicated by his supporters in 1890 and topped with a bust of the great artist, a short walk from his beautiful work in Saint Sulpice.

Episode 256 - The Apse Chapels of Notre Dame, Part Four

This week we finish our series on the last chapels in the chevet of Notre Dame de Paris. The chapels of the chevet are a reminder of what the cathedral used to be. The colorful painted walls, ribs and ceilings, stained glass and 19th century sculptures much of which was created by Viollet-le-Duc are still found in the back of the church. Stripped away from the nave by former bishops we can imagine what the entire cathedral once looked like.  

The chapel of Saint Guillaume is named for the saint and former archbishop of Bourges and canon of Notre Dame at the end of the 12th century. However, visitors are always drawn to another gentleman within the chapel. On the left wall is a large sculpture by Jean-Baptiste Pigalle in 1776. 

Claude Henry Comte d'Harcourt served as a lieutenant general in the army of Louis XV and died on December 5, 1769. On July 1, 1771 the widow Harcourt commissioned Pigalle to create a theatrical piece titled the “Conjugal Reunion”. She had very specific instructions on how it would look that had come to her in a dream.  At the end of the sarcophagus will be the guardian angel of the lord. In one hand he holds the torch of their marriage while the other opens the tomb. The count seeing this countess pulls himself from his tomb and reaches for his wife who is on her knees below in prayer. Standing behind is Death holding an hourglass showing that her time has come. The Count also closely resembles the statue of Voltaire that Pigalle created in the Louvre. 

During the Revolution the cénotaph was moved to the Museum of French Monuments but not before the bronze elements were stolen. In 1820 it finally returned to the cathedral and was partially restored by Claude André Deseine. 

Another cénotaph can be found in the chapel, but sadly did not survive the Revolution as well as old Harcourt.  Kneeling in prayer to the right are the statues of Jean Jouvenal des Ursins and his wife Michelle de Vitry. Jean was born in 1360 in Troyes and studied law which lead him to the Parliament of Paris. Michelle and Jean had eleven children who commissioned the tomb for their parents. 

Each once stood on their own base engraved with their names with a painting hanging above. The Saved during the Revolution but only after they lost their heads and the bases were destroyed. The family once lived just two blocks from Notre Dame on what is now named the Rue des Ursins.

Hanging against the painted wall of fleur-de-lys that also resemble corn is a large bronze crucifix by Edmond François Lethimonnier in 1850. A gift to Notre Dame at the baptism of the Prince Imperial, son of Napoleon III from Pope Pius IX. 

The next chapel is named for Sainte Marie Madeleine and three episodes of her life  are painted on the wall by Viollet-le-Duc. On the left she washes the feet of Jesus with her tears and dries them with her hair. On the right is Mary seeing Jesus in the garden just after he has risen and in the center is her death. All of the paintings of the chapels have been beautifully restored over two years. 

The cénotaphe of Mgr Marie Dominique Auguste Sibour is one that has always stuck with me from the first time I saw him years ago. Sibour was the archbishop of Paris from 1848 until his tragic death in 1857. Kneeling in prayer with his eyes to the heavens, the marble statue was completed by three successive sculptors. Begun by Jules Dubois it was completed after his death by Joseph Lescombé and Joseph Marius Ramus. Finished in 1868. 

Born in France and studied in Rome before returning to Notre Dame to officiate the wedding ceremony of Napoleon III and Eugéne in 1853. 

On January 3, 1857, the feast day of Sainte Genevieve, the bishop was performing the ceremonial mass of the patron saint of Paris when a former priest, Jean Louis Verger that had been sanctioned by the diocese lunged onto the altar and stabbed the bishop in his heart, killing him instantly. Verger was tried and killed just 27 days later. 

The next chapel isn’t named for a saint but for the Anointing Oils held in the beautiful red cupboard designed by Viollet-le-Duc. 

However, don’t skip by this one or you may miss the story of the other patron saint of Paris, Saint Denis. Painted on the wall his life is told by Viollet-le-Duc which may be hard to recognize as Denis still has his head attached. Saint Denis has his own chapel in the south nave but very plain and without his story. 

On the left  Saint Denis and his fellow priests Saint Rustique and Saint Eleuthere in the moment before they are about to lose their heads. In the center their apotheosis and to the right the order of the saints being sent to Paris to convert people to the church. 

The cénotaph of Mgr Dnys Auguste Affre is another with a tragic story. Born in 1793 and named bishop of Paris on August 6, 1840. During the Insurrection of 1848 hoping to calm the crowd the bishop visited the barricades on the Rue Saint Antoine. After successfully calling for a cease fire he climbed the barricades where he was shot. It was June 25 and he was taken to his home on the Ile Saint Louis where he spent 32 horribly painful hours before he died at 4:30 am on June 25. 

His cénotaph created by Auguste Hyacinthe Debay in 1860 shows the bishop reaching up and pointing towards a message, “May my blood be the last to be spilt”. The bishop is shown below in relief trying to calm the rioters.

The stained glass by Alfred Gérente from the design of Viollet-le-Duc is topped with the coat of arms of the bishop and a medallion of a pelican, a symbol of the Eucharist. 

Episode 255 - The Apse Chapels of Notre Dame - Chapel Sept-Deuleurs & Saint Georges

As we continue our walk through the history of each of the chapels of Notre Dame we have reached two of the most important and also the most beautiful.  Normally the central back chapel is dedicated to the Virgin in most cathedrals but in Notre Dame the most important relic of Christianity resides here. 

The Chapel Notre Dame de Sept-Deuleurs is named for the one thousand year old organization that protects the Crown of Thorns and the relics of the Passion. In the center is the new gleaming reliquary created for the Renaissance of Notre Dame. 

In 2005, Cardinal Lustiger asked artist and architect Sylvain Dubuisson to create a new reliquary for the Crown of Thorns. The project died when the Cardinal did, and Dubuisson shelved his idea.  In 2023, Bishop Ulrich called out of the blue and asked the artist to pick up where he left off. 

Dubuisson researched the history of the Crown, from its origin to the reliquary church of Sainte Chapelle, created for it and channeled Abbot Suger, the father of Gothic churches. 

The wall is made of cedar to emulate the True Cross; cut into the wall are three hundred sixty openings, each holding a gilded bronze thorn. The gilded gold is reminiscent of the Byzantine churches where the Crown of Thorns was kept in the 5th century. 

The openings are more significant at the top than at the bottom, allowing natural light to stream in. In the center are  396 glass cabochons, each etched with a cross and backed with 24-karat gold. When on view, they surround the Crown of Thorns, which hangs over the Klein blue center, which frames and glows in the light. 

Standing just over 11 feet tall, the center was placed above eye level to be viewed from every angle. The three-ton sculpture sits on a Carrera marble base that holds a safe where the Crown lays when not displayed and is topped with one hundred LED “candles.” 

Dubuisson worked with the Atelier Saint Jacques, Fonderie de Coubertin, Glassmaker Olivier Juteau, Light Sculptor Patrick Rimoux, and the Atelier de Rocou for the gilding. The entire team worked simultaneously, and the project took over 4700 hours to complete. 

The Crown of Thorns is venerated each Friday during lent from 3 pm to 5 pm and on Good Friday from 10 am to 5 pm. 

The two walls of the chapel are decorated with frescos much different than any other in the cathedral. On the left wall is the mural of the Life of the Virgin by Auguste Perrodin painted in 1870 after the restoration of Viollet-le-Duc. To read the story start at the bottom left with Jesus bearing the cross, Christ on the calvary in the center and on the right the Descent of the Cross. In the center row the Death of the Virgin on the left and Communion of the Virgin on the right and at the top the Coronation of the Virgin. 

On the south wall; the oldest fresco of the cathedral dates to the 14th century. The mural reflects the Virgin welcoming the soul of Simon Matifas de Bucy, bishop of Paris from 1290 to his death in 1304. Bucy succeeded the Bishop Maurice de Sully whose ambition and money built Notre Dame de Paris. 

The Virgin is surrounded by Bishop Bucy and on the right Saint Nicaise de Reims the martyred saint that also lost his head and carried it to his tomb, much like our patron saint Denys. Thankfully the fresco was saved by Viollet-le-Duc under the 19th century restoration. The cénotaph of Bucy was once part of the mural and later moved to just below the cross and pieta. 

The stained glass windows capture the first sun of the day and are each attributed to a different artist and were each created using the 14th century techniques in stained glass design. The first window on the left by Nicolas Coffetier was finished in 1884 and tells the story of Sybylis and the Prophets announcing the coming of the new reign. 

The center window beautifully lays out the Life of the Virgin by Antoine Lusson in 1855 when he was just 15 years old! On the right the Pilgrimages to Notre Dame by Alfred Gérente after the original design by Louis Steinheil in 1855. 

On either side of the chapel are two ceénotaphs of the Gondi family. On the left Albert de Gondi, maréchal de France and close to the family of Henri II. Born in Florence on November 4, 1522, his mother was close to Catherine de Medici and moved with her to France upon her marriage to Henri II in 1533. Becoming a close advisor he negotiated the marriage of their son Charles IX to Elisabeth d’Autriche in 1570. Upon his death on April 21, 1602 he was given a lavish ceremonial funeral and buried in the cathedral. 

Albert, on his knees in prayer, looks towards his younger brother Bishop Pierre Cardinal de Gondi. Born in 1533 and served as bishop of Longres in 1565 before being named the bishop of Paris in 1598. Like his brother he was close with the royal family including Henri III and Henri IV and is featured as one of the cardinals in the Rueben’s paintings of the Coronation of Marie de Medici in the Louvre.  Pierre stepped aside in favor of his nephew Henri taking the role as bishop in 1598. The Gondi family held a tight grip on the title including three more named bishop of Paris. Six are buried in Notre Dame de Paris. 

The next chapel is dedicated to Saint Georges de Lydda. A martyr saint that lived in the 3rd century. Born around 275 in the Roman Empire his story lives on from the Golden Legend by Jacques de Voragine, written in 1265. 

Georges, traveling on his white steed to the city of Siléne that had been terrorized by a dragon that was devouring every animal and two teenage girls a day. The day Georges arrived the king’s daughter had been chosen in a random draw. Georges sprang into action and confronted the dragon and killed him just in time to save the princess.  In appreciation the town converted to Christianity but Georges later met a horrible fate when he was arrested, tortured, his skin scalded and peeled but survived. A few days later on April 23, 303 he was beheaded. There are sure a lot of beheadings in the history of the saints. 

The statue on the left side of Saint Georges was created by Joseph Lescorné in 1855. Georges is pulling his sword from behind his back just before he kills the dragon. On the right wall you can see his story painted in the fresco by Louis Steinheil in 1862. 

The stained glass windows are three of the best in the entire cathedral. Again created in the style of the 14 the century with its individual stories and lots of color. When looking at windows like this, the rule is to start in the bottom left corner then read the story across to the right then up and then towards the left, up and to the right, ending at the very top window, following the story in an S shape. 

The windows behind Saint Georges tells the story of Louis IX, better known as Saint Louis, including when he purchased the Crown of Thorns. The center window for Saint Etienne who is closely tied to Notre Dame and the name of the first chapel that once stood on the Ile de la Cité in this very place. A martyr saint, he was killed by being stoned and can be found in the glass.  

The last window is the story of Saint Eustache who lived in the 2nd century. A Roman general he was hunting in the forest and came across a stag with a cross stuck between his antlers. Christ spoke to him and called him to the church and was baptized with the wife and sons. The beautiful Saint Eustache in Les Halles has many reminders of the stag and cross just as the lower right window also has. All three windows were done under Eugène Oudinot after the works of Louis Steinhel in 1862.

Unlike the great restorations of Notre Dame in the 18th and 19th century the Renaissance after the fire was not to add structural changes but to return it to the vision of Viollet-le-Duc. From the viewpoint of Philippe Villeneuve and the two thousands workers that was the plan although the Bishop and the Church had other ideas for the inside. 

Many of the chairs of the nave and the liturgical furniture of the altar was destroyed the night of the fire and needed to be replaced. Although they made a few other changes by pulling many of the decorative features out of the chapels. The candlesticks, crucifixes and reliquaries are gone and the chapels of the nave are very sterile, however there is a few additions in this chapel I am ok with. 

At the edge of the chapel are three reminders of that horrible night 6 years ago this week. Just below the statue of Saint Georges in a glass case is a crucifix that was designed by Viollet-le-Duc that was on the choir altar the night of the fire. Molten lead dripped from the roof onto the crucifix, a stark reminder of that night. It sits alongside a shiny helmet of the French Pompiers, the true heroes of that night. Behind is a replication of the plan the fire commander drew up to deal with the fire. 

The center holds one of the most important of that night the beloved rooster that looked over the cathedral for more than 160 years and crashed into the cathedral on April 15, 2019. 

The rooster is a symbol of France dating back to the 5th century BC. A symbol of protection, vigilance, and hope, it was added to the churches and often functioned as a weather vane, as is the case at Notre Dame. The original spire of Notre Dame was built in 1250 and topped with a rooster. In 1606, the rooster with its relics fell in a wind storm but would be mended and returned until 1744. During the Revolution, the spire cracked from the base was removed, and the relics were safely tucked away. 

A new spire and rooster were created under the restoration of Viollet-le-Duc and Lassus in 1858. Artist Adolphe Victor Geoffroy-Dechaume designed a new rooster of gold-gilded copper weighing 66 pounds and installed it on June 22, 1860.

The relics of Sainte Genevieve and Saint Denis were again added to a rooster, this time with a piece of the Crown of Thorns personally placed by Viollet-le-Duc. In 1935, the rooster needed a new shiny golden coat, and for the next 84 years, the rooster would spin with the wind high above the Cathedral. 

On April 16, 2019 all hope returned when a photo was published of head architect Philippe Villeneuve holding the banged up rooster in his arms and the relics were saved and replaced in the new rooster that returned to the top of the new spire on December 16, 2023. 

The last opening has photos of the most important people, the craftsmen and women that brought our cathedral back to life. For over Five years the living breathing stone monument was their baby. Working six days a week stone masons, ornamental artists, painting restorers, construction workers, crane operators and twenty seven other specialties gave their blood, sweat and tears to hand her over to the world. Their group photos sit over a beautiful photo of General Georgolin that came out of retirement to head the project and would tragically die in an accident a little over a year before the reopening. 

While the church is made up of stories of Saints, Bishops and the Virgin Mary it is the name of the over two thousand workers that are the true heroes of the construction project of the century.

Episode 254 - The Apse Chapels of Saint Louis and Saint Marcel in Notre Dame

As we continue our voyage through the details of the chapels of Notre Dame, today we visit the chapels of Saint Louis and Saint Marcel. Two important saints in the history of Paris, one for the Crown of Thorns and the other for slaying the dragon of the Left Bank. 

Louis IX, king of France, was born on April 25, 1214, in Poissy and ruled from November 8, 1226, until his death on August 25, 1270, in Tunis during the Eighth Crusade. He was canonized by Pope Boniface VIII on July 11, 1297, and his feast day is celebrated each year on August 25. Revered for his piety, justice, and devotion to the poor, Saint Louis left an indelible mark on French history and the Catholic Church.

In Notre-Dame de Paris, a chapel was dedicated to his memory—designed by architect Germain Boffrand under the direction of Cardinal Louis Antoine de Noailles. Originally composed of three chapels—Saint Martin, Sainte Anne, and Saint Michel—it became a richly decorated space honoring saints, royalty, and notable ecclesiastics.

High up on the left wall are the figures of Saint Denis, Saint Rustique, and Saint Eleutherus, all third-century martyrs, sculpted by Claude Anthime Corbon around 1864. Corbon, a fascinating figure himself, began as a printer before becoming a sculptor, politician, mayor of the 15th arrondissement of Paris, and a notable participant in the Paris Commune.

The chapel’s walls are adorned with murals based on designs by the famed restorer of Notre-Dame, Eugène Viollet-le-Duc, dating to around 1864. The murals of the left wall depict devout royal women such as Saint Clotilde, queen of the Franks and wife of Clovis, who helped convert the kingdom to Christianity in the late 5th century, and Saint Radegonde, also queen and wife to Clotaire I, son of Clovis, who later became a nun and saint. Also represented is Blessed Isabelle of France, Louis IX’s sister, who was a Poor Clare nun and founder of a monastery just outside Paris. Another notable woman depicted is Saint Jeanne de Valois, daughter of Louis XI and wife of Louis d’Orléans. Although she served as queen for just over eight months, Jeanne returned to religious life after her marriage was annulled and went on to found the Monastic Order of the Annunciation.

A cenotaph and commemorative plaques mark the contributions of Cardinal Louis Antoine de Noailles, Archbishop of Paris from 1695 to 1729. The work was sculpted by Victor Geoffroy-Dechaume in the 1860s. Born in 1651 in Cantal, Noailles was the second son of Anne de Noailles, the first Duke of Noailles, and Louise Boyer, a lady-in-waiting to Queen Marie-Thérèse. He began his clerical career as Bishop of Cahors in 1679 and soon after became Bishop and Count of Châlons-en-Champagne. In 1695, thanks in part to his close relationship with Madame de Maintenon, Louis XIV appointed him Archbishop of Paris.

Noailles played a significant role in the city’s religious landscape. He blessed the first stone of Notre-Dame’s high altar and the first stone of the Église Saint-Louis-en-l’Île. After Louis XIV’s death, the Regent Philippe d’Orléans named him president of the Council of Conscience. Noailles’s tenure was not without controversy. One of the most dramatic episodes involved the Duchess de Berry, daughter of the Regent, who experienced several scandalous pregnancies after her husband’s death in 1714. When she was about to give birth in March 1719, Cardinal Noailles arrived and asked the parish priest of Saint-Sulpice to administer the sacraments, which the priest refused. She survived that birth but died in July of the same year after another pregnancy. 

Polarizing in life, Noailles remained so in death. He was buried in several places within Notre-Dame, including having his heart interred in the chapel he had dedicated to Saint Louis. During his time as archbishop, he oversaw substantial renovations of Notre-Dame, including the costly replacement of many stained-glass windows in the south rose.

A stained-glass medallion by Jean Le Vieil from the 1750s bears the arms of Adrien Maurice, Duke of Noailles, Marshal of France, who lived from 1678 to 1766. Another medallion by Le Vieil features the coat of arms of Cardinal Louis Antoine de Noailles. Both are set amid grisaille stained glass windows created in 1862 by master-glazier Antoine Lusson. In total, eighteen members of the Noailles family are buried within this chapel.

A 15th-century tombstone marks the burial of Étienne Yver, canon of both Paris and Rouen, who died in 1468. Also represented through statuary sculpted by Corbon are Christ, the Virgin Mary, and Saint John.

The altar and mural work continue the stylistic vision of Viollet-le-Duc. Saint Louis is naturally featured, alongside Saint Clodoald—also known as Saint Cloud—the grandson of Clovis I who renounced his royal claim to become a monk. There is also a depiction of Saint Louis of Anjou, bishop of Toulouse from 1296 to 1297, and great-nephew of Saint Louis IX. Even Charlemagne, crowned emperor of the West in 814 and later beatified, is featured—emphasizing the chapel's tribute to France’s Christian monarchic legacy.

Though lacking a marked tomb, two notable figures are buried in the vicinity: Thomas de Courcelles, canon, teacher, and dean, and his brother Jean de Courcelles, doctor of canon law. Thomas played a central role in the trial of Joan of Arc. An eager servant of the English occupiers, he read her indictment, proposed torture, and later edited the Latin translation of the trial, conveniently omitting his own name from incriminating votes. Despite his unrepentant stance, he maintained influence at court and even took part in the public rehabilitation celebrations of Joan in 1456, presiding as dean of the chapter of Notre-Dame—a disturbing irony in the long saga of her legacy.

The next chapel tells the story of a lesser-known but legendary bishop: Saint Marcel, the ninth bishop of Paris, who lived in the 5th century. His legacy, though centuries old, is deeply tied to the city’s early identity, marked by acts of compassion, miraculous power, and deep spiritual friendship with Paris’s patroness, Sainte Geneviève.

Born near the Petit Pont in what would later be the heart of medieval Paris, Marcel’s early years are shrouded in mystery. The house where he is said to have been born no longer stands, having been demolished during Baron Haussmann’s vast renovation of the city. Marcel served briefly on the Council of Paris in the 360s and became bishop in 405, guiding the faithful until his death in November of 436. He was buried along the ancient Roman road, where today the Boulevard Saint-Marcel and Avenue des Gobelins intersect.

From his childhood, Marcel was known for miraculous acts. One legend tells of a forger who challenged him to guess the weight of a burning iron bar. The boy calmly lifted it and, astonishingly, remained unscathed. Later, as a subdeacon, he brought water from the Seine to the bishop to wash his hands before mass — and the water turned to wine. But his most dramatic miracle came later in life, while serving as bishop. A woman, shunned by society for her sins, died and was refused burial in the church cemetery. Marcel, filled with mercy, led a small group to carry her body to the Bièvre River. There, a dragon—drawn to claim the soul of the woman—blocked their path. Undeterred, Marcel faced the creature head-on, raised his pastoral staff, and struck it three times—once for each person of the Holy Trinity—defeating it.

Saint Marcel’s story is intimately connected to that of Sainte Geneviève. He entrusted her with the care of the city’s consecrated virgins, and in 451, when Attila the Hun approached Paris and the people refused to heed Geneviève’s call to prayer, it was Marcel who urged them to listen. Though he died decades before her, their connection endured in the rituals of the Church. For centuries, on the feast of Geneviève, a symbolic procession would unfold. Marcel’s relics would be carried from Notre-Dame to meet hers at Saint-Étienne-du-Mont, and together, they would return to the cathedral for mass. Afterward, she would be accompanied back to the edge of the Île de la Cité, a spiritual journey retold year after year.

The chapel where Marcel is honored once consisted of three separate bays, each named for saints: the Beheading of Saint John the Baptist, Saint Eutrope, and Saint Faith. In the 19th century, it was transformed under the guidance of Eugène Viollet-le-Duc, who entrusted its mural decoration to painter Théodore Maillot between 1867 and 1868. Maillot, born in Paris in 1826, was trained at the École des Beaux-Arts under François-Édouard Picot and Martin Drolling. He would later marry Anne Charlotte Duban, daughter of Louvre architect Félix Duban. Beyond Notre-Dame, Maillot also painted the “Miracles of Saint Geneviève” fresco in the Panthéon.

On the left wall of the chapel, Maillot’s major work The Triumph of Saint Marcel depicts the solemn transfer of the saint’s relics from the Church of Sainte-Marie to Notre-Dame, under the leadership of Bishop Eudes de Sully. The procession is made up of dignitaries from the diocese, including Archbishop Darboy and the Abbé La Place. In the vaulted ceiling, Saint Marcel is crowned in heavenly glory.

The chapel honors not only Marcel but other saints deeply linked to the city. Among them is Saint Éloi, bishop of Noyon from 641 to 660, originally a skilled goldsmith. Apprenticed to a master named Bobbon, Éloi crafted two thrones from gold intended for one, impressing King Clotaire II with his honesty and gaining favor at court. He was later appointed to oversee the treasury, mines, and coinage, and served as Minister of Finance under King Dagobert I. In 1212, part of his arm was brought to Notre-Dame, and it remains part of the cathedral’s relic treasury.

Also honored is Saint Aure, abbess of the monastery of Saint-Martial in Paris, who died in 666. Saint Germain, bishop of Paris from 555 to 576, is likewise remembered here, as is Saint Geneviève herself.

The chapel also houses the cenotaph and commemorative plaques of Mgr Hyacinthe-Louis de Quélen, Archbishop of Paris from 1821 to 1839. Sculpted by Victor Geoffroy-Dechaume in 1852, the monument remembers a man known for both his political resilience and charitable heart. Born in 1778 and ordained by Cardinal Fesch—Napoleon Bonaparte’s uncle—Quélen maintained close ties with Kings Louis XVIII and Charles X. He blessed the first stone of the Chapelle Expiatoire, but during the 1830 Revolution, he was twice forced to flee the archbishop’s palace. After a mass commemorating the Duc de Berry in 1831, Republican rioters destroyed his residence. Quélen found refuge at the Convent of the Ladies of the Sacred Heart—now the Rodin Museum. In 1832, during the deadly cholera epidemic, he showed great compassion for the suffering of the city. He died in 1839 and was buried in the chapel of Saint Marcel, beneath the figure of the saint whose life he deeply venerated.

The chapel is illuminated by soft grey-toned stained glass—grisaille—crafted in 1862 by Antoine Lusson, a master glass artist. On one wall hangs a painting known as the Vierge de Pitié—Our Lady of Pity—by Lubin Baugin, dating to around 1650. During the Revolution, the piece was taken by Alexandre Lenoir to the Petits-Augustins for safekeeping. It was restored and returned to Notre-Dame in 1844.

On the chapel’s right side is another monument, the cenotaph of Cardinal Jean-Baptiste de Belloy, Archbishop of Paris from 1802 to 1808. Sculpted in 1818 by Louis-Pierre Deseine, it shows Saint Denis holding a parchment inscribed with Belloy’s name as the cardinal gives alms to two orphan girls. Belloy, born in 1709, had been bishop of Marseille and was later called to lead the diocese of Paris. When Pope Pius VII requested the resignation of all bishops as part of the Concordat with Napoleon, Belloy was the first to step down—an act that earned him Napoleon’s admiration and a seat in the French Senate. It was the emperor himself who ordered the creation of this tomb upon Belloy’s death in 1808 at the age of 98.

This chapel, steeped in miracle and memory, continues to speak of those who shaped the faith and soul of Paris—from dragon-slaying bishops and relic processions to the quiet courage of prelates who stood firm through revolution and plague. It is a space where time collapses and the enduring spirit of the Church carries on, guided still by the pastoral hand of Saint Marcel.

Episode 253 - The Apse Chapels of Notre Dame - Part One

Saints, Chapels, and Sacred Stories: A Journey Through Notre Dame’s Hidden Treasures

Beyond the soaring vaults and iconic towers of Notre Dame de Paris lies a quieter world—one carved into stone chapels, painted in delicate glass, and whispered in the lives of saints. Within these sacred spaces are centuries of devotion, art, and memory. Let us journey into three such chapels and the remarkable stories they preserve.

Echoes of Faith: Saint Martin and Our Lady of Guadalupe

In the quiet folds of Christian history, certain figures stand out not only for their holiness but for the deep cultural and artistic legacies they inspire. Among them, Saint Martin of Tours and Our Lady of Guadalupe continue to illuminate the paths of faith, charity, and devotion across continents and centuries. Their stories intertwine with the architectural beauty of churches, the hands of master artisans, and the enduring faith of millions.

Saint Martin of Tours, one of the most beloved saints of early Christianity, was born in 316 in Sabaria, present-day Hungary. He served as a Roman soldier before converting to Christianity, and his life took a pivotal turn in the winter of 334. That year, the cold claimed the lives of many. Martin, then still a soldier, encountered a man shivering on the roadside, nearly naked and ignored by passersby. Moved with compassion, Martin drew his sword, cut his thick wool military cloak in half, and gave one piece to the man. That night, he dreamed of Christ wearing the very piece of cloak he had given away, affirming the divine nature of his act of charity. This moment not only marked his spiritual awakening but also laid the foundation for his sainthood. He would later become the Bishop of Tours in 371, serving until his death in 397 in Candes-Saint-Martin at the age of 81. Saint Martin is now the patron saint of France, of the Merovingian and Carolingian dynasties, as well as of policemen, soldiers, and Swiss Guards. The half-cloak became a cherished relic, housed in a small room at the church in Tours—a space that came to be called a *chapel*, a term that would eventually spread throughout Europe to describe small places of Christian worship.

While Saint Martin’s story is rooted in early Christianity, across the ocean and more than a millennium later, a different apparition brought spiritual transformation to the New World. On December 9, 1531, the Virgin Mary appeared to an Indigenous man named Juan Diego Cuauhtlatoatzin on the hill of Tepeyac, just north of what is now Mexico City. She spoke in his native Nahuatl, asking him to request that a church be built on that very site. Juan Diego carried her message to the bishop, who, skeptical, asked for a sign to prove the vision’s authenticity. On December 12, during her fourth appearance, the Virgin instructed Juan Diego to gather flowers atop the barren hill. Despite it being winter, Juan found roses miraculously blooming. He collected them in his tilma—a rough cloak made of agave fiber—and returned to the bishop. When he opened his tilma, the flowers spilled out, and to the astonishment of all present, the inside of the cloak bore the vibrant image of the Virgin Mary, dressed in a rose-pink gown patterned with flowers. This miraculous image would become known as Our Lady of Guadalupe, the spiritual mother of Mexico and the Americas, and a symbol of cultural synthesis between the Indigenous peoples and European Christianity.

Art has played a vital role in preserving and spreading devotion to the Virgin of Guadalupe. A notable example is the mosaic reproduction created by the Vatican Mosaic Studio in 1948, a gift from the Mexican government that now adorns sacred space. Another treasured representation is a **grisaille stained glass window** created by Antoine Lusson (son), a master glassmaker who inherited his father’s workshop and moved it from Le Mans to Paris. His studio at 21 bis Rue de Laval—now Rue Victor Massé—was active during his work on Notre-Dame de Paris between 1862 and 1863. Lusson, who had also worked on the windows of Sainte-Chapelle, brought a refined and detailed touch to his sacred glass, transmitting both artistry and faith through light.

Together, these stories form a tapestry of Christian devotion, where acts of mercy, miraculous encounters, and artistic heritage reflect the enduring spiritual landscape of both the Old and New Worlds. Whether in the humble half-cloak of a Roman soldier, the blooming roses on a cold December hill, or the vibrant stained-glass windows of Paris, each of these moments invites reflection on the mystery of faith and the universal call to love and serve one another.

Saint Ferdinand III: A King’s Legacy of Faith and Conquest

Saint Ferdinand III, King of Castile and León, is remembered as one of the most revered monarchs of medieval Spain. Born in 1199, Ferdinand’s reign was marked by his remarkable military victories and deep devotion to the Christian faith. He is especially celebrated for his pivotal role in the Reconquista, the centuries-long Christian campaign to reclaim Spain from Moorish rule. His greatest triumph came with the recapture of Córdoba in 1236, a significant victory that symbolized the shift of power in Andalusia from Muslim to Christian hands.

Ferdinand’s legacy extended far beyond his military conquests. Known for his strong religious convictions, he was a monarch who sought to balance the needs of his kingdom with his spiritual duties. His devotion to the Church was unwavering, and he worked to strengthen its influence throughout his kingdom, both through his personal example and by supporting religious institutions. It is said that his rule was defined not just by the sword, but by his efforts to foster peace and justice among his people.

Ferdinand was canonized as a saint in 1671 by Pope Clement X, a recognition of his exceptional life and virtues. His feast day, celebrated on May 30, serves as a reminder of the significant role he played in shaping the history of Spain and his lasting impact on both the Christian faith and the kingdom he ruled.

While Ferdinand’s rule was largely focused on the military and religious spheres, his life was also closely intertwined with other European monarchs. He was the nephew of Blanche de Castille, the mother of Saint Louis, King of France, and the cousin of Louis IX himself. This connection to the French royal family further emphasized his influence within the Christian world of medieval Europe, linking him to one of France’s most celebrated saints.

The Chapel of Saint Ferdinand III: A Legacy in Art and History

Saint Ferdinand’s memory is preserved in many ways, but one of the most significant tributes to him lies within the walls of the Chapel Saint-Jean-le-Baptiste-Sainte-Madeleine, later renamed the Chapel of Saint Ferdinand III. Located in Paris, this chapel stands as a testament to his religious devotion and military achievements, and it holds a number of historical and artistic landmarks.

One of the chapel's most notable features is the cenotaph of Mgr Christophe de Beaumont du Repaire, the Archbishop of Paris from 1746 to 1781. A prominent figure of his time, Christophe de Beaumont was known for his firm opposition to the Jansenists, a theological movement that was at odds with the teachings of the Catholic Church. He was also known for his clashes with the French Parliament, which led to a series of judicial reforms supported by King Louis XV. After his death, his body was interred in Notre-Dame de Paris, while his heart was placed in the Saint-Cyprien church in Dordogne.

The chapel also contains several important artworks, including a stained-glass medallion featuring the coat of arms of the Lariboisière family, created in the mid-19th century. This beautiful stained glass window reflects the importance of family and heritage, two elements deeply intertwined with faith and devotion. Another significant artistic piece is the grisaille stained-glass created by Antoine Lusson, a master glassmaker, in 1864. Lusson's work is renowned for its detailed craftsmanship and ability to convey religious devotion through the interplay of light and color.

The Story of Jean-Baptiste de Budes, Count of Guébriant

The chapel is also the resting place of Jean-Baptiste de Budes, Count of Guébriant, a Marshal of France who played a significant role in the military history of the 17th century. Born into a noble family, he became a trusted military leader and served during the Thirty Years’ War, notably earning his place in history after being struck by a cannonball during the Siege of Rottwell in 1643. His body was returned to Paris and given a royal funeral service normally reserved for kings. He was buried in the chapel that would later become associated with Saint Ferdinand III.

Guébriant’s wife, Renée du Bec-Crépin, also left a lasting legacy in the chapel. Renée was an ambitious and resourceful woman, known for her diplomatic missions on behalf of the French crown. During the Thirty Years’ War, she proved herself an adept diplomat, even representing France in Poland in 1645 on a mission to ensure the successful marriage of a princess to the ailing King Wladyslaw IX. Her resourcefulness extended to her role during the Treaty of the Pyrenees negotiations in 1659, a diplomatic success that led to her appointment as lady-in-waiting to Marie Thérèse, the Queen of France. Tragically, Renée passed away in 1659 on her way to the Spanish border.

Artistic Tributes to Saint Ferdinand III

The life of Saint Ferdinand III is immortalized in a set of murals painted by Eugène Viollet-le-Duc in the 1860s. These murals, which adorn the chapel, depict key moments in Ferdinand’s life, from his victories in the Reconquista to his spiritual dedication. Viollet-le-Duc, a renowned architect and artist, was instrumental in the preservation of many French historical monuments, and his murals in the chapel provide a rich, artistic reflection of Saint Ferdinand’s role in shaping both Spanish and European history.

The chapel’s artistic offerings serve as more than just decorative elements—they are powerful symbols of the enduring influence of Saint Ferdinand III, his commitment to the Christian faith, and his place within the broader tapestry of European history. Through art, architecture, and religious observance, his memory continues to inspire reverence and admiration.

In the heart of Paris, within the hallowed halls of its churches, lies the Chapel of Saint Germain, a place of profound religious significance and historical depth. The legacy of Saint Germain, Bishop of Paris from 555 to 576, is deeply intertwined with the early Christian history of Paris, as well as with the spiritual and artistic history of the city. Alongside this, the reverence for Notre Dame de Czestochowa, one of the most important icons of devotion in Poland and beyond, reflects a rich tapestry of faith and miraculous protection that transcends borders and centuries.

Saint Germain was born in 496 in Saône-et-Loire, France. His early years were marked by study in Avallon, and he spent 15 years living as a monk before becoming the Abbot of Saint-Symphorien. His piety and commitment to the Christian faith earned him the attention of Childebert, the son of King Clovis and Queen Clotilde, who appointed him Bishop of Paris in 555. During his time as bishop, Saint Germain founded the Abbey of Saint-Croix-Saint-Vincent, which would later become known as Saint Germain des Prés. The abbey, one of the oldest in Paris, became a central point of Christian life and influence, and for over 900 years, his relics were carried through the streets of Paris during annual processions. These processions were a testament to the lasting impact of his leadership and the devotion of the people who remembered him.

Saint Germain’s influence extended beyond the religious sphere. His role in the development of monasticism in France helped lay the foundation for the Christianization of the region. His canonization as a saint was a recognition of his unwavering commitment to faith, and his memory continues to be honored in the Chapel of Saint Germain. The chapel stands as a tribute to the bishop's enduring legacy in Paris, and the murals depicting his life, including his appointment by Childebert, are a vivid reminder of the significant moments that shaped his time as a spiritual leader.

While Saint Germain's legacy is firmly rooted in the religious history of France, Notre Dame de Czestochowa, known as the Black Madonna, occupies a sacred place in the hearts of the Polish people and the broader Christian world. The icon, which is believed to have been painted by Saint Luke, has a rich history steeped in legend and miracles. According to tradition, the painting was created on a piece of cedar wood, possibly from the table used during the Last Supper. It was discovered by Saint Helena in 326 during her search for the True Cross and later given to her son, Emperor Constantine.

The icon’s journey continued through the centuries, eventually finding its way to Poland. In 1382, the painting was owned by Prince Ladislaus of Poland, who fled with it to escape the Tartar invasions. During this journey, an arrow was shot into the painting, striking Mary in the throat. The prince managed to escape with the icon, and when they arrived in Czestochowa, they found that the painting would not budge. Interpreting this as a divine sign, the prince decided to leave the icon in the town, where it was entrusted to the Hermits of Saint Paul at the Jasna Góra Monastery (Mount of Light). The painting has remained there ever since, with the monastery becoming a focal point for pilgrims who come to venerate the Black Madonna.

The icon’s significance only grew with time, as it became a symbol of divine protection for Poland. In 1430, the Hussitesattempted to desecrate the painting, slashing it with swords. Yet, in an act of divine retribution, the soldier who attempted to strike the icon collapsed and died. The Black Madonna continued to protect Poland, and during the Swedish invasionsof the 17th century, the Polish people once again turned to the painting for salvation. In recognition of her importance, Pope Clement XI declared a canonical coronation of the Black Madonna on September 8, 1717, and August 26 was designated as her feast day.

The image of the Black Madonna is darkened by centuries of soot and smoke, but it remains a powerful symbol of faith and divine intervention. In 2018, a reproduction of the icon was presented to the Chapel of Saint Germain by the Pauline Monastery of Czestochowa, marking the 100th anniversary of Poland regaining its independence. This gift symbolizes the continued devotion to the Black Madonna, even far from her home at the Jasna Góra Monastery.

In addition to the tribute to Notre Dame de Czestochowa, the chapel also houses the cenotaph of Mgr Antoine Éléonor Léon Le Clerc de Juigné, the Archbishop of Paris from 1782 to 1802. Born in 1728, he was a charitable man who gave away all his wealth to help those in need. His dedication to charity, even to the point of selling his own possessions to provide for the poor during a particularly harsh winter, was an expression of his deep Christian values. During his tenure as Archbishop, he also supported the civil status of Protestants, which led to his eventual exile from Paris during the Revolution. Despite the challenges he faced, including being forced to leave the city and later returning after the Concordat of 1802, his contributions to the Church and his personal sacrifices left a lasting mark on Parisian history. His cenotaph, sculpted by Pierre Cartellier in 1824, stands as a testament to his life’s work.

The murals in the chapel, painted by Eugène Viollet-le-Duc in the 1860s, depict significant moments in the lives of Saint Germain and Childebert. These artworks serve as a reminder of the enduring influence of Saint Germain on the religious and cultural life of Paris. The grisaille stained-glass windows, created by Antoine Lusson in 1864, further contribute to the chapel's spiritual atmosphere, capturing the light and beauty of faith through intricate design.

Together, the stories of Saint Germain, Notre Dame de Czestochowa, and Mgr Antoine Éléonor Léon Le Clerc de Juigné are a testament to the rich and diverse history of religious devotion in Europe. From the founding of monasteries and the veneration of holy icons to the personal sacrifices of religious leaders, these narratives continue to inspire and guide those who walk in faith, whether in Paris, Poland, or beyond. The chapel serves not only as a place of worship but as a living museum of faith, history, and art, where the past and present intertwine to remind us of the enduring power of devotion.

Episode 252 - The Choir Wall of Notre Dame de Paris

The choir of Notre-Dame de Paris, consecrated in 1182, was the most sacred space in the cathedral, reserved exclusively for the clergy. Enclosed by a low wall, it was the site of high mass, the Eucharist, and major liturgical celebrations. At the end of the 13th century and into the early 14th, a monumental stone jubé—a sculpted choir screen—was constructed to further enclose the space and emphasize its sanctity. Rising high above the choir floor, the enclosure created a screen of silence, shielding the sacred rites from the noise of the nave.

The northern side of the enclosure, carved in the 13th century, features vivid scenes from the Gospels, illustrating the Nativity, Christ’s childhood, his public ministry, and his Passion. The southern section, begun in the 14th century by Jean de Chelles, was continued by Jean Ravy and completed in 1351 by his nephew Jean le Bouteiller. These artists, working across generations, created a harmonious Gothic ensemble, though the curved sections of the enclosure no longer survive. The project was largely financed by Canon Pierre de Fayel, nephew of Bishop Simon de Bucy.

The sculptures, originally painted in polychrome stone, were restored around 1860. Though much of the original enclosure was altered during a major redesign of the choir begun in 1699 and continuing through the early 18th century, the surviving elements remain one of the finest examples of Gothic liturgical architecture in France.

We begin on the North side of the choir which originally started with the image of the Annunciation with the Virgin Mary and the  Archangel Gabriell. it was removed to widen the entrance of the choir

Mary, pregnant with Jesus, visiting her cousin Elizabeth, herself pregnant by John the Baptist  Luc 1, 39-56

The Virgin is in blue with gold embroidery and a light veil on her head. Elisabeth in red reaches out to touch Mary. Mary was told by the Gabriel that Elisabeth was also pregenant.

Announcement to the shepherds by an angel of the Nativity of the Messiah. Luke 2:8-14

The Judean mountain around Bethlehem and above an angel in the sky with a banner of “Alleluia”. Two shepherds look up towards the sky and listen “to you is born this day in the city of David a Savior who is Christ the Lord”

The Nativity  Luke 2:1-7

“I bring you news of great joy: a Savior has been born unto you” the baby Jesus is placed above Mary’s bed. The elegant scene is far nicer than that of the stable. The draped curtain is often seen in paintings of French royalty. Mary lays under a beautiful blanket with Joseph at her feet while a donkey and ox looks over the baby.

 Adoration of the Magi guided by the star   Matthew 2:1-11

The three wise men have come to pay their respects before the child sitting on his mother's lap, while Joseph stands behind the Virgin. In art, the kings often represent different stages of life.

The first king, the oldest and wisest, kneels. He places his crown at Mary's feet and offers a cup filled with gold. The next, a mature man, points to the star that guided them. The last, a young man, his hand on his heart, offers his person to Christ. He wears the fleur-de-lis crown of the kings of France.

 Massacre of the innocents by order of King Herod   Matthew 2:16-18

Herod feared his power of Judea was threatened and ordered the killing of all male children under two in Bethlehem. Herod is depicted with a scepter on the throne watching the massacre in front of him without any emotion. The devil over the shoulder of the king leading to the massacre 

 Fleeing to Egypt to escape the Massacre of the Innocents  Matthieu 2, 13-15

Joseph had a dream that Herod was going to try to kill the baby Jesus and decided to flee to Egypt.  Joseph leads Jesus and Mary on a donkey while the mother and son look at each other. On the right as the Holy Family passes, two statuettes that are following are under an arch according to Isaiah’s prophecy. “behold , the false gods of Egypt are tottering before them” 

Presentation in the Temple where the high priest Simeon recognizes Jesus as the Savior  Luke 2:21-40

Jesus is presented to God as the Law required for every first-born child. Two prophets, Simeon and Anna welcome him and sing to God “My eyes have seen salvation”  Simeon, a just and pious man, clothed with the hHoly Spirit, recognizes the long-awaited Savior and welcomes him with veiled hands as a sign of respect. Behind Mary, Anna holds a basket of doves offered as a sacrifice. 

Jesus among the teachers in the Temple Luke 2:41-52

At his first pilgrimage at 12 to the Temple. A teacher holds the Old Testament. Although he is depicted as a much younger child. Mary stands behind him

 The Baptism of Jesus in the water of the Jordan by John the Baptist

Matthew 3:13-17; Mark 1:9-11; Luke 3:21-22

John the Baptist baptizes Jesus, with the river Jordan up to his hips. In the Eastern tradition, an angel assists Christ and holds his garment. The fathers voice reveals his true identity “this is my beloved son”

 Les Noces de Cana  Jean 2, 1-11

The table is covered with a golden tablecloth with four figures seated at the table: Jesus & Mary wear halos and another couple which only the man wears a halo. Two jars are placed at the feet of the servant and present the empty jar to Mary. Mary makes a gesture to the servant who has brought a vessel of water to be transformed. The man at the table holds a loaf of bread . Jesus is holding a book of Scripture in his left hand and in his right makes a gesture of the master who speaks and teaches. 

 The entry of Jesus into Jerusalem on a donkey Marc 11, 1-11

A few days before the Passion, Jesus on a donkey heads towards Jerusalem followed by his disciples. A man opens a red garment in front as a sign of respect and another in a tree for a better look. Jerusalem is represented by the open door

The Last Supper, Jesus' last meal with his disciples before suffering his Passion

Matthew 26:20-29; Sark 14:17-26; Luke 22:14-39; John 13:1-3

The 12 disciples are seated around Christ for the feast of Passover. Jesus gives them the bread and wine that are his body and announces one of them will betray him. Jean, always the beardless one sits next to Jesus, leans in and asks who he is referring to. “He is the one to whom I will give the morsel that I am about to dip” and he gives it to Judas and at that moment Satan enters Judas. 

  The Washing of the feet Jean, 13, 1-20

Jesus kneels and washes the feet of Peter who holds the scripture that Jesus has entrusted in him and his first vicar in Rome. On the right is a young man in the guise of Jean, holding a smaller book, which could be his gospel since he is later the one that tells of this story. 

The sculptor wanted to connect this scene with the Last Supper that both foretell the Passion that Jesus is about to experience

 In the Garden of Olives in Gethsemane, Jesus prays to his Father before his arrest while his disciples are asleep.  Matthew 26:36-46; Mark 14:32-40; Luke 22:39-46

After the Passover meal Jesus and his disciples head to the Garden of Olives.  The sculpture has the disciples asleep under the olive tree and Jesus on his knees in prayer to his father. 

From here the story of the Passion continued onto the Jubé screen across the wall behind the altar. but was destroyed in the 17th century.

Pierre de Chelles died in 1318 and Jean Ravy continued the project on the south wall.  then Jean le Bouteiller, amnitects-sculpture, first half of 14isth century: polychromy, c. 1850

The Risen Christ appears to Mary Magdalene  John 20:11-18

At dawn on Easter morning Mary arrives at the tomb and sees a gardener she doesn’t know is Jesus.

Holding a spade, he asks her “Who are you looking for?” Then calls her by name and she recognizes him and discovers he has risen. “Do not hold me back”. The tree behind is full of fruit and evokes Paradise

  Christ appears to the Holy Women returning from the empty tomb     Luke 24:1-10

According to the Gospel it was the women in the life of Christ that went to find him at the tomb on the second day after his death. Overwhelmed by the news of the resurrection Jesus comes to meet them. Christ holds a white standard topped with a cross of glory, a sign of victory over death and sin. Jean Paul II and Benedict XVI transformed the papal crozier into a glorious cross. 

Christ appears to Simon Peter and John  Luke 24:34; 1 Corinthians 15:5

It is two scenes in one. The moment Jesus appears to the men, except Jean who doubted the Resurrection on the right, Pierre has tossed himself at the feet of Jesus crying and regrets his triple denial during the Passion. In the back is the faithful friend, Jean, who had accompanied Jesus to the foot of the cross. On the left, a cave, Jesus speaks with Peter and forgives his sins. 

Christ appears to two disciples near Emmaus, but they do not recognize him until the  evening when he blesses and breaks the bread  Luke 24:13-27

Also a double scene in one. On the left, two disciples meet Jesus on the road to Emmaus. Cleopas is turned towards Jesus. 

On the right as evening has come, Jesus sits at a table  and breaks bread, blesses it and breaks and shares it. It is at that moment they recognize him. Jesus explains to them the events that brought them great sadness and it is in their open eyes we see that they listen intently. At the Emmaus Inn where the meal takes place and breaks the bread like in the Eucharist of the Mass. 

 Christ appears to the Apostles    John 20:19-24

On the night of Easter, Jesus with the apostles. This scene tries to depicts the physical reality of Jesus’ resurrection

 Christ appears to the Apostles and to Thomas, who, while doubting Christ's Resurrection, recognizes his Lord John 20:24-31

Thomas kneels before Jesus who shows him his wounds and touches the one on his side. On Easter evening when Jesus appeared to the disciples Thomas was absent. The next week Jesus invited Thomas who only believed the news when he saw it and then professed his faith “My Lord and my God”

 Christ appears to his apostles on the shores of Lake Tiberias  John 21:1-14

Another double work of the reunion of Jesus and his apostles on the edge of Lake Tiberias.(Sea of Galilee) The appearance of Christ; the Apostles achieved a miraculous catch. The fish in the net symbolizes the believers gathered in the Church. Peter who had denied Christ now humbly confesses his love to him. Peter was much taller than the other disciples and close to the same height as Jesus. Jesus entrusts the church to Peter and the first Pope. 

 Christ appears to his Apostles and disciples  in Galilee  Matthew 28:7; 28:10; 28:16-20

Jesus finds himself in the midst of the apostles and sends them on a mission. Jesus again holds a book in his hand, since he himself is the Word of God 

Last two scenes depict a mission of the eleven apostles gathered around Jesus. Go therefore, from all nations, make disciples, baptizing them in the name of the Father and of the Son and of the Holy Spirit. And I am with you always, until the end of time. " 

Christ appeared to the same people near the Mount of Olives before His Ascension to God the Father   Acts of the Apostles 1:1-12

On the right, in the last scene, a table is set for the last shared meal. After this final meal, Jesus disappears. There is no medieval representation of the Ascension at Notre-Dame

Like in the previous scene Jesus holds the book of the Gospels and gives his disciples the mission to spread the word 

Episode 251 - The Vow of Louis XIII and Its Lasting Legacy

The Vow of Louis XIII and Its Lasting Legacy

On February 10, 1638, King Louis XIII officially published a vow dedicating himself, his kingdom, his crown, and his subjects to the protection of the Holy Virgin. This decision came in December 1637, when France was embroiled in conflict with the House of Habsburg, and the king was anxious over the lack of a male heir. His prayers were seemingly answered on September 5, 1638, with the birth of Louis Dieudonné, the future Louis XIV. However, Louis XIII died five years later, on May 14, 1643, before fully realizing his vow. His son, Louis XIV, later renewed and expanded his father’s promise.

In 1699, the royal architect Jules Hardouin-Mansart designed a magnificent Baroque altar to replace the existing Gothic one, fulfilling the vow with a transformation of Notre-Dame de Paris. On December 7, 1699, a solemn mass and vespers marked the laying of the first stone by Cardinal de Noailles, accompanied by clergy and dignitaries. A bronze plaque bore the inscription: “Louis the Great, wanting to fulfill the vow of the King, his father, and add a mark of his piety, had an altar made in the Cathedral Church of Paris, with its ornament of a magnificence above the first project.”Beneath the altar, four gold and silver medals with the effigies of Louis XIII and Louis XIV were deposited.

The high altar and choir reconstruction gathered some of the finest artists of the time. Antoine Vassé sculpted the altar, adorning it with two great angels and a bas-relief depicting the Tomb of Christ. The first version, made of plaster, was installed in 1719, while the final version, cast in bronze in 1732, was later gilded. Behind the altar, Nicolas Coustou’s Pietà, completed in 1723, became a centerpiece. To either side, Guillaume Coustou’s sculpture depicted Louis XIII offering his scepter and crown to the Virgin, while Antoine Coysevox created a likeness of Louis XIV in prayer. 

The transformation of the choir was dramatic. The medieval triforium was partially filled in, creating a series of large rounded arcades that blended Gothic elements with Classical masonry. The entire space was covered in Vernal white marble and red Languedoc marble, accented with angels and gilded trophies. At the forefront, wrought iron and gilded grilles by Nicolas Parent and Jacques Petit enclosed the sacred space, featuring the royal fleur-de-lis and crown. The choir stalls, carved in oak by Louis Marteau on the south side and Jean Nesle on the north, were further enriched with scenes from the life of the Virgin, sculpted by Jules Degoullons. Above the woodwork, a series of large paintings commissioned from the finest painters of the time enhanced the spiritual grandeur of the space. By Spring 1714, most of the transformation was complete, though some elements, such as Coustou’s Pietà, were not finished until 1723.

During the 18th century, Notre Dame underwent additional restoration under Germain Boffrand. The south rose window, which had suffered structural issues since the 14th century, was rebuilt, along with parts of the south gate. The 12th-century stained glass, still in good condition, was carefully preserved and returned to its place. The vault and transept crossing, which had begun to deteriorate, were also reinforced. In 1726, Cardinal de Noailles initiated further restoration, overseeing the repair of buttresses and replacing heat-damaged gargoyles with lead pipes. To unify the cathedral’s appearance, the interior was whitewashed, creating a striking contrast between the brilliant marble and gold of the choir and the stark Gothic architecture.

However, the French Revolution would disrupt this legacy. On August 14, 1792, the Legislative Assembly abolished the Vow of Louis XIII, only for it to be reinstated by Louis XVIII in 1814. In 1831, Louis-Philippe once again abolished the vow, but in 1922, Pope Pius XI declared the Virgin of the Assumption the Main Patron Saint of France, reaffirming the vow’s historical significance. In 1988, Cardinal Lustiger reintroduced the Vow of Louis XIII procession, culminating in reading the original text. The tradition was further renewed in 2022 by the Bishop of Chartres, continuing its legacy.

When Louis XIV undertook the renovation of Notre-Dame, he enlisted the finest artisans who had worked on Versailles, leaving behind a masterpiece of Baroque grandeur. The transformation of the 18th century, later followed by the restorations of Viollet-le-Duc in the 19th century and Cardinal Jean-Marie Lustiger in the 20th century, shaped the cathedral as it is known today. Despite his fragile health, political struggles, and a childhood overshadowed by his mother’s authoritarian rule, Louis XIII left an indelible mark on French religious and artistic heritage. His devotion was immortalized in a painting by Philippe de Champaigne, depicting the king kneeling and offering his crown to the Virgin of Pity. This painting once adorned the south transept of Notre-Dame, facing the Chapel of the Virgin, until it was removed during the Revolution. At the time of his death, this painting remained the only visual tribute to his vow—a promise that would ultimately shape one of France's most breathtaking sacred spaces.

Listen to the full episode now and check out a walk through the details of Notre Dame

Episode 250 - Celebrating 250 Episodes of Paris History Avec a Hemingway

For nearly five years, we have explored the lives of the figures who shaped the Paris we adore—its cobbled streets, grand monuments, and hidden corners. From the smallest details of Notre Dame to the treasures of the Musée du Louvre, each story has revealed the magic of history.

For this monumental 250th episode, I wanted to choose a topic that truly honored this milestone. After much reflection, I painstakingly narrowed down a list of ten extraordinary women—figures of resilience, resistance, reinvention, and rebellion—who redefined what it meant to be a woman in their time.

Join me as we celebrate these incredible women and the legacy they left behind in Paris and beyond.

🎙️ Listen here: Paris History Avec a Hemingway

Here’s to many more episodes and the remarkable stories yet to be told!

Julia Child and Veuve Clicquot: Reinvention and Legacy

Julia Child: Bringing French Cuisine to America

Julia McWilliams Child, the woman who introduced French cooking to America, fell in love with France as deeply as generations have fallen in love with her.

Born on August 15, 1912, in Pasadena into a wealthy family, Julia stood out—both for her personality and her 6’2” frame. At Smith College, she excelled in basketball, golf, tennis, and acting. Graduating with a history degree in 1934, she dreamed of becoming a writer but instead landed in advertising at W & J Sloane.

When World War II broke out, Julia attempted to join the Women’s Army Corps but was rejected for her height. Instead, she joined the Office of Strategic Services (OSS)—the precursor to the CIA—where she helped develop shark repellent(yes, really) to prevent sharks from triggering underwater explosives.

Her OSS work took her to Sri Lanka, where she met Paul Child in 1944. He was ten years older, worldly, and sophisticated. They married in 1946, and in 1948, a new assignment took them to Paris—a move that changed her life forever.

In her late 30s, Julia discovered her true passion: French cuisine. By 49, she published Mastering the Art of French Cooking, a book that transformed American kitchens. Unlike many women of her time, she had a husband who championed her success. Paul Child believed in her brilliance, helping Julia become the icon who inspired generations to embrace French gastronomy.

🔗 Listen here: Paris History Avec a Hemingway - Julia Child

Veuve Clicquot: The Woman Who Revolutionized Champagne

Born Barbe-Nicole Ponsardin on December 16, 1777, in Reims, she married François Clicquot, heir to a textile and champagne empire, at 21. Together, they expanded production to 60,000 bottles a year and shipped throughout Europe. But when François died suddenly in 1805, Barbe was left widowed at 27.

Instead of stepping aside, she took control of the business—a rarity for women at the time. Her father-in-law wanted out, but she fought to keep the company afloat, earning her the name Veuve Clicquot ("The Widow Clicquot").

With the help of her trusted employee Louis Bohne, she discovered a key market: Russian royalty loved her champagne. Even when naval blockades threatened trade, she found creative ways to get her bottles to them, securing Veuve Clicquot’s place in history. The anchor logo on every bottle today symbolizes her resilience on the waterways of France.

Beyond business, she revolutionized champagne-making. At her kitchen table, she invented riddling, a process that removed yeast and sediment from bottles—creating the crystal-clear champagne we know today.

She died in 1866 at 89 years old, leaving behind a global empire and a legacy that still sparkles. The next time you raise a glass of Veuve Clicquot, toast to the brilliant woman who defied the odds.

🔗 Listen here: Paris History Avec a Hemingway - Veuve Clicquot

Both Julia Child and Veuve Clicquot reinvented themselves later in life, proving that ambition has no expiration date. Whether in the kitchen or the vineyards, their stories continue to inspire

Victorine Meurent and Suzanne Valadon: From Muse to Master

Victorine Meurent: Manet’s Muse and Forgotten Artist

Born on February 18, 1844, Victorine Meurent was drawn to art from a young age. At 16, she met Édouard Manet in Thomas Couture’s studio, becoming one of his most famous models. With her striking red hair, she appeared in at least eight of his works, including The Street Singer and the groundbreaking Olympia (1863), which scandalized the Salon with its unapologetic portrayal of a nude courtesan.

Though often remembered as Manet’s muse, Victorine was far more than just a model. She was an artist in her own right, exhibiting at the Salon of 1870, where her painting hung just feet from Manet’s. Unlike him, she embraced academic realism, a style that ultimately led them to part ways. Today, only two of her works survive in the museum of Colombes, a small fraction of the talent she left behind.

🔗 Listen here: Paris History Avec a Hemingway - Victorine Meurent

Suzanne Valadon: The Model Who Became a Master

Like Victorine, Suzanne Valadon began as a model but left an even greater mark as a painter. Growing up in Montmartre, she sat for artists like Henner, Steinlen, Toulouse-Lautrec, and most famously, Renoir, appearing in Danse à la Ville and Danse à Bougival (1883). But while modeling, she was also learning, absorbing techniques that would shape her own artistry.

At 30, she finally picked up a brush, encouraged by Edgar Degas, who became a mentor and collector of her work. Valadon’s art defied convention, featuring bold lines, intimate female nudes, and vibrant compositions that challenged traditional depictions of women.

Despite personal struggles—including a turbulent love life, a son (Maurice Utrillo) who battled alcoholism, and a falling-out with Degas—she forged a career in a male-dominated world. Her paintings can be seen today in the Musée d’Orsay and the Centre Pompidou, but for a deeper look into her life, visit the Musée de Montmartre, where her former studio and apartment are preserved.

🔗 Listen here: Paris History Avec a Hemingway - Suzanne Valadon

Both Victorine and Suzanne challenged expectations, proving that muses could be masters in their own right. Though their work was overshadowed in their time, their legacy endures, etched onto the walls of Paris’s greatest museums.

Valtesse de la Bigne & Ninon de Lenclos: Women Who Defied Convention

Valtesse de la Bigne: The Courtesan Who Became a Legend

Born in 1848, Valtesse de la Bigne knew early on that she would have to forge her own path. With an alcoholic father and a laundress-prostitute mother, she worked long hours as a seamstress before discovering the bal musettes of Paris, where she caught the eye of wealthy men. She changed her birth name, Émilie-Louise Delabigne, to "Valtesse," a play on Votre Altesse (Your Highness), setting the tone for her future.

Her striking red hair and magnetic presence won her admirers, including composer Jacques Offenbach and a Russian banker, both of whom showered her with wealth. The Prince de Sagan later gifted her a lavish home at 98 Boulevard Malesherbes, cementing her status as one of Paris’s most sought-after courtesans.

Unlike many courtesans of her era, Valtesse built a life of independence and cultivated an air of mystery. She inspired Émile Zola’s infamous courtesan Nana, a character both admired and feared in Parisian society.

Today, one of the most striking reminders of Valtesse’s legacy is her ornate bed, displayed at the Musée des Arts Décoratifs—a symbol of the empire she built on her own terms.

🔗 Listen here: Paris History Avec a Hemingway - Valtesse de la Bigne

Ninon de Lenclos: The Intellectual Courtesan Who Shaped Parisian Society

Born on November 10, 1620, Ninon de Lenclos was raised by a liberal father who encouraged her love of philosophy, science, and languages—unusual pursuits for a girl of the 17th century. When her father was exiled, her traditional mother tried to marry her off, but Ninon refused. To escape the fate of an arranged marriage, she took control of her own destiny, defying expectations and becoming one of Paris’s most celebrated courtesans.

Unlike many women of her time, Ninon blended intelligence, independence, and seduction, hosting salons where Paris’s greatest minds gathered. She empowered women to embrace their voices and sexuality, while advising men on love and intellect. Her lovers included some of France’s literary giants—Molière, Jean de La Fontaine, and Charles Perrault.

A passionate affair with Louis de Mornay, Marquis de Villarceaux, resulted in the birth of a son, Louis-François, but Ninon refused to conform to societal norms. She left him behind, severing ties in dramatic fashion by cutting off her hair and gifting it to Mornay—creating the "Ninon bob" hairstyle.

Her influence extended to the court of Louis XIV, though his devout mother had her imprisoned in a convent. She was later freed by Queen Christina of Sweden, who admired her radical thinking. Even in her final years, she remained a beacon of intellectual and personal freedom. Upon her death in 1705, she left money to a young François-Marie Arouet, better known as Voltaire, ensuring that her legacy of free thought lived on.

🔗 Listen here: Paris History Avec a Hemingway - Ninon de Lenclos

Both Valtesse de la Bigne and Ninon de Lenclos shattered societal norms, using wit, charm, and intelligence to carve out places of power. Their influence still lingers in the salons, literature, and culture of Paris today.

Madame de Sévigné & George Sand: Women Who Wrote Their Own Rules

Madame de Sévigné: The Letter-Writing Legend

Madame de Sévigné never wrote a book, yet her letters made her one of the greatest writers of the 17th century.

Born Marie de Rabutin-Chantal on February 5, 1626, she was orphaned young and raised by her scholarly uncle, who gave her a rare classical education. At 18, she married Henri de Sévigné, but by 25, she was widowed when he died in a duel over a mistress. Rather than remarry, she embraced independence, immersing herself in Parisian salons.

Her most famous legacy began in 1671, when her beloved daughter Françoise married and moved to Provence. Over the years, Madame de Sévigné penned over 1,000 letters, filled with gossip, wit, and historical insight, documenting everything from the Poison Affair to Louis XIV’s court life. Her letters were copied and widely circulated, even catching the eye of the king himself.

After her death on April 17, 1696, her letters were published and remain a priceless window into 17th-century France. Today, her legacy endures at the Château de Grignan and Musée Carnavalet, where her letters and portrait are on display.

🔗 Listen here: Paris History Avec a Hemingway - Madame de Sévigné

George Sand: The Rebel of French Literature

Born Amantine Lucille Aurore Dupin on July 1, 1804, George Sand refused to let society define her. Raised at Château de Nohant by her aristocratic grandmother, she grew up caught between privilege and rebellion.

Married off at 16 to François Casimir Dudevant, she found herself trapped in an unhappy marriage. In 1831, she escaped to Paris, reinventing herself as a writer. After co-authoring with Jules Sandeau, she claimed a name of her own—George Sand—and debuted with Indiana (1832). Her works, championing female independence, outsold Hugo and Balzac, making her one of the few women to live off her writing.

Her personal life was as unconventional as her work. She had passionate relationships with actress Marie Dorval and poet Alfred de Musset, followed by a turbulent romance with Frédéric Chopin. Their years together in Mallorca and Paris were a mix of love, music, and conflict. Later, she found stability with Alexandre Manceau, who remained by her side for 15 years until his death.

Returning to Nohant, she spent her final years writing and reconciling with her daughter before passing away on June 8, 1876. Today, her statues in the Jardin du Luxembourg and exhibits at the Musée de la Vie Romantique keep her legacy alive.

🔗 Listen here: Paris History Avec a Hemingway - George Sand

Both Madame de Sévigné and George Sand challenged expectations, proving that women’s voices could shape literature, influence society, and leave a lasting mark on history.

Josephine Baker & Rose Valland: Resistance Over Evil

Josephine Baker: The American Who Became a French Icon

Josephine Baker arrived in Paris in the 1920s and transformed the stage, becoming a symbol of freedom, resilience, and rebellion.

Born on June 3, 1906, in St. Louis, she endured a difficult childhood, working as a maid and dancing on the streets for survival. At 15, she joined the Harlem Renaissance, and by 19, she seized an opportunity to travel to Paris. Her 1925 debut at the Théâtre des Champs-Élysées was a sensation, but it was her Danse Sauvage at the Folies Bergère, wearing little more than a banana skirt, that cemented her fame. Embracing Parisian life, she rejected America’s racism and became a French citizen in 1937.

A Spy, an Activist, and a Mother

During World War II, Baker became a spy for the French Resistance, using her international fame to smuggle intelligence—hiding notes in sheet music and even in her underwear. For her bravery, she was awarded the Croix de Guerre, Rosette de la Résistance, and the Légion d’Honneur.

Her activism extended beyond the war. In 1951, she refused to perform in segregated venues in the U.S. When she was denied service at New York’s Stork Club, Princess Grace of Monaco walked out in solidarity, sparking a lifelong friendship. She later stood alongside Martin Luther King Jr. at the 1963 March on Washington but declined to lead the Civil Rights Movement after his assassination.

Beyond her career, Baker formed a "Rainbow Tribe", adopting 12 children from different backgrounds to promote racial harmony. Yet, financial struggles plagued her, and despite support from friends like Brigitte Bardot and Princess Grace, she lost her beloved Château des Milandes.

A Lasting Legacy

In 1975, France celebrated her 50-year career with a grand performance at Bobino. Just days later, she suffered a cerebral hemorrhage and passed away at 68. She was the first American woman to receive a full French military funeral and, in 2021, became the first Black woman inducted into the Panthéon. Her château remains a museum, and her spirit still dances through Paris, where she reigned as the Black Venus.

🔗 Listen here: Paris History Avec a Hemingway - Josephine Baker

Rose Valland: The Woman Who Saved the Art of France

If ever a woman deserved a monument, a parade, and her face on a euro, it is Rose Valland. Largely unknown to the public, she was one of the greatest art spies of World War II, secretly documenting Nazi art looting and ensuring thousands of stolen works were recovered.

Born in 1898 in the Auvergne region, Valland’s mother secured scholarships that allowed her to attend university, an uncommon achievement for women at the time. She excelled in the arts, studying at the École des Beaux-Arts in Lyon and Paris, the University of Paris, and the École du Louvre.

The Spy Who Saved Art

In 1932, she became a volunteer curator at the Jeu de Paume—a position that would change history. When the Nazis occupied France in 1940, they turned the museum into a storeroom for looted art, stolen from Jewish families, galleries, and museums.

Valland, unassuming with her glasses and neat hair, was easily overlooked. But she had two invaluable skills—she spoke German and had a photographic memory. Each night, she secretly recorded every stolen artwork, its origin, Nazi-coded inventory number, crate details, train schedules, and destinations.

Her intelligence became critical for the French Resistance and the Allies—helping them intercept trains and recover looted art. If she had been caught, she would have been executed.

A Lasting Legacy

After the war, Valland joined the Monuments Men, aiding in the recovery of over 60,000 artworks. She was awarded honors from France, Italy, Germany, and the United States, but remained humble. Her records are still used today in restitution efforts, as thousands of pieces remain missing.

She chronicled her experiences in Le Front de l’Art, ensuring that her heroic work was not forgotten.

🔗 Listen here: Paris History Avec a Hemingway - Rose Valland

Both Josephine Baker and Rose Valland fought against oppression—one with song, espionage, and activism, the other with silent, meticulous bravery. Their resistance against evil changed history, and their courage still inspires today.

Episode 249 - Gabrielle d'Estrées

Gabrielle d’Estrées is often remembered more for the risqué painting depicting her than for the remarkable life she led. Born around 1573, she was the daughter of Antoine d’Estrées, Baron de Boulonnois, and Françoise de la Bourdaisière. She was one of eleven children—seven of them girls—earning the sisters the infamous moniker “the seven deadly sins,” as coined by the Marquis de Sévigné.

Gabrielle moved in the court of Henri III, where she caught the attention of Roger de Bellegarde, a close companion of both Henri III and Henri IV. It was during one of Roger’s meetings with Henri IV that Gabrielle was first noticed at court, instantly captivating the king. For six months, Henri pursued her tirelessly while she resisted—until at last, she relented.

Henri IV did not attempt to hide his love for Gabrielle, even as he worked to annul his marriage to Marguerite de Valois. To keep Gabrielle close at court, he arranged her marriage to Nicolas d’Amerval on June 8, 1592. In return for playing his part, Nicolas was granted the title of Baron de Benais.

Eager to be free to marry Gabrielle, Henri petitioned Pope Clement VIII to dissolve his marriage to Marguerite. However, the Pope had his own ambitions, hoping to see Henri wed his niece, Marie de’ Medici. As a result, he delayed granting the annulment, frustrating the king’s plans.

Ever at Henri’s side, Gabrielle played a crucial role in helping to end France’s ongoing religious conflicts and was instrumental in convincing Henri to convert to Catholicism in 1593. Yet, despite her influence, she was not beloved by the people, who scornfully dubbed her the “Duchess of Garbage” and criticized her lavish spending. Nevertheless, she remained a central figure in Henri’s life, sitting beside him as he triumphantly entered Paris later that year.

Determined to marry her, Henri publicly presented Gabrielle with his coronation ring before the court—a clear sign of his intentions.

Whatever it is, the way you tell your story online can make all the difference.

The union of Gabrielle and Henri resulted in three children: César in 1594, Catherine in 1596, and Alexandre in 1598. All three were legitimized by both the monarchy and the church as Henri’s rightful children. In 1599, Gabrielle became pregnant again. Unlike her previous pregnancies, which had been easy, this fourth one proved difficult. She was sick every day, struggling through five grueling months.

On April 6, 1599, she left Henri behind at Fontainebleau, just days before their wedding, which was planned for April 11—Easter Sunday. Overcome with emotion, she sobbed uncontrollably and had to be physically pulled away from him. It was the last time she would see her love.

The following day, April 7, Gabrielle dined with Sébastien Zamet, an Italian financier who had arrived in France with Catherine de’ Medici and was also closely connected to Marie de’ Medici. During dinner, feeling unwell, she accepted a frosted lemon from Zamet. The next day, she began experiencing severe contractions and abdominal pain, though she was only five months pregnant. The baby had already died, and as her condition rapidly deteriorated, doctors struggled to determine what to do.

Within a day, her face and neck suddenly turned black, leaving the physicians baffled. When word finally reached Henri at Fontainebleau, he rushed to Paris as fast as he could—but it was too late. On April 10, at just 26 years old, Gabrielle d’Estrées passed away—the day before their intended wedding.

One of the most striking and enigmatic paintings associated with Gabrielle is the presumed portrait of her and her sister, the Duchess of Villars. The identity of the artist and even the subjects remain uncertain, but it is widely attributed to the Fontainebleau School around 1594. In the painting, the Duchess delicately pinches Gabrielle’s nipple—a symbolic gesture representing pregnancy. At the time, Gabrielle would have been five months pregnant with the future Duke of Vendôme, Henri IV’s illegitimate son. In her left hand, she holds a ring—Henri’s coronation ring—a token of his love and loyalty. In the background, a woman is seen sewing. Could she be making baby clothes?

Whatever it is, the way you tell your story online can make all the difference.

Visitors can find this painting in the Richelieu wing on the 2nd floor of the Louvre, in the Salle Seconde École de Fontainebleau (Room 824)—just follow the snickering adults.

Devastated by her death, Henri planned a lavish funeral at Église Saint-Germain-l’Auxerrois, fit for a queen. Defying tradition, he dressed in black for months—shocking many, as white was the customary mourning color for royalty. He even commissioned a lifelike effigy of Gabrielle and placed it in the room next to his own, where he would sit with her and take his meals.

Gabrielle was laid to rest at the Abbey of Maubuisson, where her sister was a nun, while their children remained close to their father. Less than a year later, Henri IV married Marie de’ Medici.

Episode 248 - Madame de Pompadour

Jeanne Antoinette Poisson’s life seemed destined to intertwine with that of the king. Born on December 29, 1721, in Paris, her father, François Poisson, was the food commissioner during the Famine of 1725. However, he was charged with fraud and forced to flee France, leaving Jeanne and her mother behind, homeless, as everything they owned was seized. In 1727, Jeanne was sent to the Ursuline Convent in Poissy.

Two men soon entered their lives alongside her mother, Madame de la Motte: Jean Puvis de Monmartel and Charles François Paul Le Normant de Tournehem. Tournehem became her legal guardian and was widely believed to be her biological father. While she may have received an elite education at the convent, Jeanne was often ill and bored, prompting her return home at just nine years old.

Shortly after, her mother took her to a fortune teller who foretold that the young girl would one day hold the heart of the king. From that moment, she was called "Reinette"—the little queen. Determined to prepare her for a life at court, her mother hired the best teachers to educate her in art, dance, and theater.

In 1740, at the age of 19, Jeanne married Charles Guillaume Le Normant d'Étiolles, the nephew of her guardian, Tournehem, under one condition: their marriage would remain happy and intact—unless the king came calling. Tournehem showered the couple with gifts, including the Château d'Étiolles, and named Charles Guillaume his sole heir, cutting out his own children.

The marriage was a happy one, producing two children. However, tragedy struck in 1744 when their infant son died within months of birth, and their daughter, Alexandrine, passed away before her ninth birthday. Despite these personal losses, Jeanne and her husband hosted lavish salons at the Château d'Étiolles, attracting luminaries such as Voltaire, Fontenelle, and Montesquieu. Her name began circulating beyond the salons and into the royal court.

Eager to attract the attention of Louis XV, Jeanne devised a bold plan. Knowing that the king frequently hunted near their home, she dressed in an elegant blue gown and rode out in a striking pink carriage, crossing his path. A few days later, she reversed the colors—donning a pink dress with a blue carriage—ensuring that she remained unforgettable. Her audacity paid off; the king took notice and soon sent her a whole venison as a gift—a rather regal way of courting a lady.

On February 24, 1745, she was invited to court for a masked ball. Dressed as Diana the Huntress, she floated through the grand hall—straight into the king’s arms. Three days later, at the Hôtel de Ville, Louis XV publicly declared his love for her.

By May 7, her separation from her husband was finalized. When the king wanted something, things moved quickly. However, as a commoner, Jeanne’s presence at court—let alone her relationship with the king—was frowned upon. This was swiftly remedied when Louis XV purchased her a noble title, a château, and a coat of arms, making her the Marquise de Pompadour. On September 14, 1745, she was formally introduced at court—on the arm of the king.

Their intimate relationship lasted from 1745 to 1751, but they remained deeply connected, with Pompadour becoming his most trusted adviser. She became pregnant with the king’s child three times, but each ended in miscarriage, taking a toll on her health. It is believed that this was the reason their physical relationship ended.

Yet, Louis XV ensured she remained close. On October 12, 1752, he granted her the title of duchess, and in 1756, she became Lady-in-Waiting to the Queen—the highest position a woman could hold at court. He gifted her properties and châteaux, including commissioning the Petit Trianon for her, though she would never live to see its completion.

While many royal mistresses came and went, Madame de Pompadour left a lasting imprint on France, particularly in the arts. She was a dedicated patron, supporting artists and developing her own skills—from gemstone engraving to book printing. She played a crucial role in founding France’s first royal porcelain factory and was instrumental in the construction of the École Militaire, Place Louis XV (now Place de la Concorde), and what is today the Élysée Palace, home to the French president.

On April 15, 1764, at just 42 years old, she died of pulmonary congestion at Versailles, with the king by her side. Three days later, a lavish funeral—fit for a queen—was held at Église Notre-Dame de Versailles, where Louis XV was said to be inconsolable. She was later taken to Paris to be buried alongside her mother at the Capucines Convent. Though the convent no longer stands, it is believed that she and her mother remain buried beneath the sidewalk at 3 Rue de la Paix.

Today, she is immortalized in statues and artwork, including a famous pastel portrait by Maurice Quentin de La Tour, displayed at the Louvre, where she is surrounded by books and engravings—many of which she created herself.

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