|Once and future vaults|
Cathédrale Notre-Dame de Chartres : immersion... by culture-gouv
The 12 minute video from the restoration web site reveals much. It's super quiet with no monologue or dialogue, but I found myself exclaiming out loud while watching it. I understand (at 4:45m) injecting fissures in the columns with something binding, but the wholesale plastering of all the columns? Is what's going on as of 9:10m ok? Are those medieval designs? Are they 19th century designs? Reading the excellent PDFs of the restoration reports, it's clear that there's a lot of the 18th century (when the eastern end and choir underwent work) and the 19th (specifically the keystone painting of the chapel of Notre-Dame du Pilier on the north side near the transept). The restoration of the marble work in the choir is pretty intense - the colors are really, shall we say, bright. Ok, garish, to me. And the white-washed columns just make no sense. Yes, there's that marvelous quote from a letter written by Kipling (fascinating choice if you ask me) at the head of the restoration website, but is this medieval Chartres? Maybe it's not meant to be. Maybe it's meant to be medieval, 18th and 19th century Chartres.
|Why does a photograph taken on playful iPhone settings|
look more like the Chartres I think I know?
Funnily enough, the stained glass restoration feels absolutely like a restoration - like a return to the 13th century (as if I could possibly truly know what that was like!). What is happening that I feel so absolutely not the same way about the stone of the cathedral? What would Adolf Katzenellebogen say? (For the north transept is completely restored and those sculptures shine so, so brightly). This is no longer the Chartres of Henry Adams. Am I really going to align myself with those guys? Am I going to say, "this is no longer my Chartres?" What on earth would that mean? As if the cathedral could belong to someone. Well, lest we get into issues of patrimoine and possession (ever since the French Revolution, church properties belong to the government, and it is my understanding that the Catholic Church leases them - in perpetuity, but still), I'm going to stop here. The Chartres whose every stone and sculpture, and whose every pane of glass I studied for months and months twenty years ago is transforming before my eyes. The point, of course, is not simply to dichotomize this metamorphosis into "good," or "bad" - the point will be to live and teach this new Chartres, but I don't yet have the terms.