Glorious Glass - Sainte-Chapelle...

Having visited Sainte-Chapelle a few months ago, I keep gazing at the glorious stained-glass windows that seem to make up most of the structure and space of its upper chapel. There seems to be so much modern-day ugliness on every possible level today, be that socially, culturally, or politically speaking, that I want to retreat from it all and find solace, peace and pleasure in pure beauty.

How is it possible that such a beautiful jewel could have been created and consecrated centuries ago - around 1248 - and indeed survived to the present day?

Ascending the narrow, time-worn stone steps up from the lower chapel below, which once served as a parish church for those living in the Palais de la Cité, visitors have little idea of just how magnificent this vast glass vessel will prove to be. What must this sensorial experience have been in centuries past, well before eyes and spirits were jaded through an incessant glut of 21st century screen-induced stimulation?

Commissioned by Louis IX to provide a palatine chapel in the Medieval royal residence, to house the sacred Holy relics in the most venerable manner, the upper level of Sainte-Chapelle stands on the lower chapel, in a two-storey design also found in Noyon Cathedral. Constructed in the Rayonnant Gothic style, the architectural design is staggeringly lofty; a tower of light, twice as high as it is wide, sending out a myriad of colour, even under darkening skies.

No supporting pillar obscures the long expanse that leads to the apse at the far east end, where the Holy relics were held in the grand châsse - an imposing reliquary casket - beneath the ornate baldaquin and surrounded by seven bays of towering stained-glass windows.

The west end of the chapel, is dominated by the vast rose window that was created in the Flamboyant Gothic style in the 15th century, with a flame-like design in the stone-work details and enamel-painted glass. The ceiling that runs from east to west above is divided into vaulted sections adorned with dark blue paint-work with rich gold stars...

The apparent weighlessness of the curtains of glass, without the use of masonry walls inside or buttresses outside, is reliant on bar tracery and iron rods and chains that provide tension and support. Furthermore, the pillars employed are cleverly 'disguised' by a series of slender stem-like structures that soar above, thus emphasizing the height as opposed to the thickness of the whole.

At the base of these ribbed columns stand apostles, and you cannot help but wonder what and who they have seen over the centuries! Having witnessed damage and destruction by the fire and flooding visited on Sainte-Chapelle, its desecration during the French Revolution and then disolution in the aftermath, these silent witnesses have also observed the pre-emptive measures taken in WW2, with the windows removed and later returned to avoid damage. Incredibly, two-thirds of the stained glass that we see in Sainte-Chapelle today are the original pieces from the Medieval period, whilst the spire is, in fact, the fifth to have adorned the monument!

Although Sainte-Chapelle managed to survive the social and political turmoil of the Revolution years, by the early decades of the 19th century there were plans to destroy it completely in order to make way for a new palais de justice. Fortunately, Victor Hugo swayed public opinion and Sainte-Chapelle was the object of a vast restoration project that went on from 1840-1863.

Much of the paint-work had to be recreated or restored, along with the sculptures, but models were taken from other monuments of the period in order to respect the original design. Typically, the fleur-de-lys image figures significantly, in reference to the royal heritage of Louis IX to the Capetian dynasty and then the castle of the kingdom of Castile in reference to his mother, Blanche de Castile.

A visit to Sainte-Chapelle is an immersion into an exquisite golden chamber of light, colour and weightlessness that is the perfect antidote to the dark, bland, heavy void we seem to have thrust upon us nowadays, whether we like it or not...

Beautiful Beasts and Beings at Sainte-Chapelle...

On a bright Spring day, light flooded into Sainte-Chapelle through the blindingly beautiful stained-glass windows in a myriad of dazzling colour. Although not my first visit, I had not yet seen the chapel in its full glory with the effects of sunlight illuminating the glass bays, like a vast scattering of millefiori... However, I will save that for another post.

This time, it was the strange sculpted beasts that lurked across the architectural structure of the chapel that fascinated me the most, with their incredible detail that could easily be overlooked since frequently placed in inaccessible places that lead the visitors to contort the body as much as the beasts portrayed high above them! Many of these beastly beings were set as part of the Last Judgment scenes that play out around the entrance of the upper chapel.

The twisted, grotesque yet humourous expressions and positions of the diabolic figures from Hell are offset by the calm simplicity of the bas-reliefs below, depicting elements from the Old Testament, all treated with the same intricate detail. I love the sheepish look of the dragon in the scene below...

And the following trio of moles, chewing on a worm whilst another docile dragon carries on with its business, regardless...

Meanwhile the animals mount two by two into Noah's ark in this magical representation. A nonchalant monkey looks on, scratching itself whilst observing the other creatures, which either reluctantly climb the ramp (the foxes) or diligently make their way up (the tortoises) or obediently follow the others (the donkeys)...

I initially thought all these sculpted pieces were remarkably well-preserved original work, dating back to the 13th century when Louis IX required a private chapel to house his sacred relics, but in fact they were created some 5OO years later to replace the sculpture destroyed during the Revolution years.

This was the work of the sculptor-restorer, Adolphe-Victor Geoffroy-Dechaume (1816-1892), who used the remaining traces of the original pieces of Sainte-Chapelle, along with copies from cathedral sculpture of the same period - notably Cathédrale Notre-Dame de Rouen. The devotion of this great man to safeguard the traces of Medieval art is incredible, along with the efforts of Prosper Mérimée (1803-1870) - better known as being the author of Carmen) - and Hugues Krafft (1853-1935). Thank goodness for their insight, without which so much precious art would be lost...

Sainte-Chapelle....Paris.

As I was hurrying back to the railway station at the end of my extremely brief day-trip to Paris, I noticed the very visible lack of visitors waiting to enter Sainte-Chapelle. Where there would typically be a long queue, snaking down the street, there was nothing. But nothing is typical for the time being and this was indeed the last free day before lockdown. The usual throngs of tourists were largely absent.

This being too good an opportunity to miss, I quickly entered, racing up the ancient, worn steps for fear of missing the last daylight and my train back home! The beautiful stained-glass windows towered above, still jewel-like bright, despite the grey, rather menacing skies outside. Inside the gold arcades and richly-decorated columns glowed against the regal blue. Also visible on the photos are the pale, ghostly apparitions of the visitors' facemarks...

Sainte-Chapelle and the nearby Conciergerie - where Marie-Antoinette was held prisoner until her execution in 1793 - are the last visible vestiges of the oldest palace of the kings of France. They were once part of the Palais de la Cité, the residence and seat of power between the 10th and 14th century, but now form the Palais de Justice.

The first Capetian king, Hugues Capet had set up the royal government and council in this palace at the end of the 10th century. By the time the first foundation stones were being laid for Sainte-Chapelle, the cathedral of Notre-Dame was already much as we know it today.

Built around 1242, the Sainte-Chapelle held the holy relics of the Passion of Christ - the most valued of these being the Crown of Thorns. The relics enabled Louis IX to elevate Paris as it became known as a New Jerusalem, second capital of Christianity.

The edifice is composed of two structures; the upper and lower chapel. The holy relics were displayed in the upper sanctuary, reserved for the royal family and friends while the place of worship below was destined for staff.

Throughout the chapel, the regal fleur-de-lys blooms, recalling the political as well as the religious importance of the site.

A semi-circular apse is at the head of the basilica form, opposite the rose window at the other end of the chapel and the fifteen stained-glass windows that flank the space enable light to flow in, a myriad of colour.

Although the royal family would have had a privileged existence, you cannot help but wonder if they too were astounded by the sheer wealth of beauty before their eyes.

The mesmerizing shock of light and colour from the chapel is made all the more powerful today, as then, by the contrast with its stark exterior, where dark gargoyles peer down from jagged architectural forms that cast a strict outline against the city skies.

Yet these seem to offer a strange sense of timeless resilience; these wonders have survived the centuries, the passage of all that time, and faced all nature of adversity. It felt quite fitting to be there, on the eve of lockdown...

La Sainte-Chapelle of Paris...

In the 14th century, a Parisian scholar remarked that on venturing into the sacred edifice of La Sainte-Chapelle, "one understandably believes oneself, as if rapt to heaven, to enter one of the best chambers of Paradise." While others have been a little more reserved in their praise, La Sainte-Chapelle is widely considered to be the jewel of Gothic rayonnante architecture. 

Situated on the Ile de la Cité in the heart of Paris, it was constructed in the mid-13th century as a chapel for the Capetian royal palace, of which little remains today. Sainte-Chapelle is now surrounded by the Palais de Justice, which continued the regal function of hearing the pleadings of aristocracy from the royal lit de justice. The Conciergerie is the principal palatial vestige, ironically becoming a prison to hold those of noble blood before they faced the guillotine during the Revolution years. Marie-Antoinette was, of course, one of its most famous inmates. 

This dark, sinister past, along with the austere buildings that obscure the chapel from view give no indication to the creation of luminosity that lies behind the imposing walls. Even when you enter the central area, the rather modest exterior of Sainte-Chapelle, with the sobriety of its façade belie the breath-taking splendour within. There are no flying buttresses or lavish sculpture to indicate what lies beyond, and the gargoyles that peer down give no hint to what is hiding below. 

For above all, this royal chapel was conceived to be an exquisite jewellery box that had to be opened in order to reveal its treasures. This was a reliquary 'turned in on itself', created to house the Holy relics that acted as the jewels in the crown of Louis IX and underlined the sacred lineage of this future saint. 

The worldly and spiritual might of Louis (1214-1270) were mirrored in the magnificence of the architecture and decoration of the chapel interior, and were again reflected and refracted through the very themes of that decor.

 The basis of this was the play of a seemingly spiritual light on the terrestrial glass structure that led to the illumination of this jewelled structure and the elevation of the mortal to higher planes. 

The 600 m2 of stained glass creates the impression of a vast, vertical expanse of gem-stone luminosity. Fifteen intricate glass panels and a huge rose window of flamboyant tracery (c.1490) encase this space, but lift the eyes of all towards the vaulted ceiling above, creating an impression of ascension and weightlessness. 

This intricate cage was ingenuously crafted following the spatial examples of earlier chapels such as those at Amiens cathedral and at Aachen. More significant too was the influence of contemporary metalworkers, such as the Mosan goldsmiths of Northern France whose work may have inspired the use of two bands of metal in Sainte-Chapelle to encircle the structure.

 The brightly-coloured diaphanous shell was, in fact, firmly anchored to its base. Like Noyon cathedral, a two-storey structure is apparent. Indeed, the lower chapel for the palatial parishioners forms the foundation for its royal counterpart, with 14 pillars soundly rooted into its structure and crowned by stone and metal pinnacles far above. 

Although there is no specific trace of an architect for Sainte-Chapelle, Pierre de Montreuil, responsible for work carried out on the abbey of Saint-Denis and the cathedral of Notre-Dame, is often cited.

Beyond the rich stained-glass windows, every aesthetic means was employed to decorate the chapel to lavish effect. Any available space on the walls alongside, or on the vaults above, was painted in vivid colours that matched those of the windows - rather different to the more subdued tones used in the 19th century restoration. 

Textile hangings and furthermore huge sculptures of the twelve Apostles completed the visual impact of Sainte-Chapelle. Nevertheless, the stained-glass windows remained first and foremost key to the full symbolism of the chapel. 

Whilst several of the window panels deal with scenes from the New Testament, notably in the eastern apse, others in the nave feature images of monarchs. The vital role of Louis IX is highlighted in other scenes which represent the king's determined retrieval of the Holy relics and their transfer to Sainte-Chapelle itself. 

Many images are thought to have been inspired by the illuminated manuscript of the Bible of Toledo (the St Louis Bible). This was created for Louis IX, on the request of his mother, the Queen Consort of France, Blanche de Castile (1188-1252). 

King and Christ are portrayed in narrative scenes in order to seal the sacral kinship. Again, there is a play of mirrors as the glory of Louis is reflected within and amplified through this glorious looking glass. 

The whole conception of Sainte-Chapelle was part and parcel of a strategy that spanned most of Louis's life, and led to his death. On his coronation in Reims in 1226, the future role of Louis as 'Lieutenant of God on Earth' was acknowledged. As king of France - the 'eldest daughter of the Church' - it was Louis' divine duty to defend the Catholic faith. 

He went on two Crusades to the Holy Lands, in 1248 and 1270, the second leading to his final demise. Through his religious endeavours, Louis sought to present himself as a latter-day descendant of Emperor Charlemagne, the 'Father of Europe'. With the Holy Roman Empire in chaos, Louis portrayed himself as an eligible candidate as central monarch of Western Christendom. 

It was Louis' spiritual mission and his regal and political aspirations that led to his acquisition of several relics of inestimable worth. In fact, these did come at a very real price, for while others would simply pillage, the saintly Louis purchased his Passion relics from the Latin emperor at Constantinople, Beaudoin II, at huge cost. This took place in1239, after two years of negotiation, the Crown of Thorns being the most precious relic of all.

In the last stage of the transfer of the relics to Paris, it was Louis himself, symbolically dressed as a penitent, who carried them. From 1241, Louis further enlarged his collection by the addition of other Byzantium pieces which included fragments of the True Cross and the Holy Lance. A place of worship was required to unite this treasure temporarily kept in the Château of Vincennes and the Château de Saint-Germain-en-Laye. It was decided that a chapel would be built within the Palais de la Cité itself to house the relics, enabling the king to enter directly from the palace. The early plans were drawn up 1241, work commenced in 1246, and the consecration of La Sainte-Chapelle took place in 1248. 

No expense was spared to create a monument worthy of the prestigious relics. The fact that the reliquary chapel cost 40,000 livres to build and the initial relics came at the price of 135,000 livres gives a clear indication of their importance. A further 100,000 had been spent on a vast silver chest - la Grand-Châsse - to store the relics.

Of this vast aesthetic and spiritual wealth, only the intrinsic structure of Sainte-Chapelle has survived the centuries largely intact. Louis himself was canonized by the Roman Catholic Church and was pronounced saint in Orvieto in 1297. During his reign, the three petals of the fleur-de-lys were said to represent Faith, Wisdom and Chivalry, but throughout the years of the French Revolution the symbol was seen to represent everything that The Terror sought to overthrow. The end of the 18th century led to the dismantling, dispersion or destruction of much of the chapel's precious contents and decor. 

During the revolutionary years, the chapel was used as office for administrative purposes and for this reason it escaped the fate that its choir stalls, rood screen and spire met. Under Viollet-le-Duc, restoration work was completed on Sainte-Chapelle in 1855, notably with a new spire, and from 1862 is became a national historic monument. Today, the Sainte-Chapelle always seems to have a long queue of visitors which snakes along the street, rain or shine. The day I went, it was particularly cold and grey but the beauty shone through. Unfortunately, my camera was playing up, so many of the photos just do not do the chapel any justice whatsover. I intend to go back on a bright, sunny day. Roll on 2014 with a new list of New Year's Resolutions and above all, the intention to discover more marvels wherever I should find myself...

Until then, enjoy your Christmas!