Châlons-en-Champagne (Marne) - Saint-Etienne Cathedral
The Cathedral of Saint-Étienne de Châlons-en-Champagne offers a beautiful example of 13th century Gothic art. Its architecture – especially that of the nave and the north arm of the transept – is remarkable and charming for its balance, even if it is not one of the highest cathedrals. Gothic art sees here realized one of its ambitions: the total dissolution of the wall in favor of the glass walls.
The stained glass windows are the main wealth of the cathedral of Châlons-en-Champagne, by their quality and variety and because they allow to follow the history of the art of the stained glass window since the XIIe century – including the extraordinary glass roof of Redemption – until the 16the and XIXe centuries.
The set of engraved funeral slabs, more numerous than anywhere else and of a drawing quality rarely equalled, also forms an artistic heritage of primary importance.
Saint-Étienne Cathedral: from Romanesque to Gothic
The construction of the present cathedral began in the early years of the XIIe century and did not end until 1634, five hundred years later. This slowness is due to funding difficulties but also and especially because the building was rebuilt twice during this period.
The first monument, begun in the Romanesque style around 1115, was completed in the Gothic style around 1220, but was severely damaged by a fire in 1230. The reconstruction work, carried out in successive sections, will give rise to a Gothic building, which, however, essentially conforms to the plan of the first building, of which it retains some elements.
The present cathedral: five centuries of work
The exact date of the beginning of the first works is not known; we only know that the high altar was consecrated by Bishop Ebles de Roucy (1121-1126). We can therefore think that they date back to the episcopate of Guillaume de Champeaux (1113-1121), one of the greatest thinkers of his time, master of the philosopher Abelard made famous by his love with Heloise. The plan chosen gave the monument a great magnitude and foresaw the destruction of the collegiate church of Saint-Nicolas, which occupied part of the land necessary for the elevation of the south arm of the transept. The crypt and the base of the northern tower of the transept, still surmounted by its very archaic vault of ogives, remain from this period.
Chronology Saint-Étienne de Châlons-en-Champagne Cathedral
IVe-Xe thirdcles
Around 320 Saint Memmie, first bishop of Châlons-en-Champagne
565 First mention of the cathedral
859 Creation of the canonical district
947-999 Episcopate of Jubin 1erduring which the cathedral was rebuilt after a fire in 963
XIIe seatthe
Around 1115 Beginning of the construction of a Romanesque cathedral by Bishop Guillaume de Champeaux
1138 Fire
26 October 1147 Consecration of the cathedral by Pope Eugene III
1186 Consecration of an altar in a tower on the western façade.
XIIIe-XVIe thirdcles
1206 Acquisition of land for the construction of the south arm of the transept
1230 Fire
1237 Donation of stained glass by Saint Louis
1255 The canonical district is closed
1256 Acquisition of the land for the construction of the north gate
1285-1303 Construction of radiant chapels
1462 Structural Repair
1470-1475 Construction of a nave span
1491-1505 Construction of two nave bays
1520 Elevation of a wooden spire on the north tower
XVIIe-XVIIIe spieces
1628-1634 Construction of two nave bays and the western façade, thanks to the gift of Canon Claude Geoffroy
19 January 1668 General burning of the cathedral; repairs are carried out to restore the pillars of the apse and the erection of stone arrows
1687 Consecration of the high altar
1794 Destruction of portal sculptures
XIXe-XXecenturies
1820-1821 Reconstruction of stone arrows
1842-1846 Reconstruction of the south arm façade
1859 Destruction of stone arrows
1861-1884 General restoration of the nave and the aisles
1903-1907 Modification of the transept towers
1918 A torpedo destroys an ambulatory arch
1940 Two nave windows blown by a bomb
The main restoration interventions from 1957 to 2009
1957-1964
Chief Architect of Historic Monuments: M. Pillet
Restoration of the covers of the choir, apse and transept.
Restoration of the covers of the two rectangular chapels north and south of the choir (metal covers on the terrace).
1976-1978
Chief Architect of Historical Monuments: M. Rocard
Restoration of the roof of the north side of the nave, repair of the frame, lead cladding, slate cover of Angers.
Restoration of the masonry of the apse and roofs (frame and cover) of the 3 radiant chapels and the ambulatory (slate of Angers).
1878-1980
Restoration of masonry on the south aisle, west façade of the south arm of the transept, north chapel, pinnacles 3,4,6 and flying buttresses of 6e buttress on the north side. Restoration of the bases of the pillars of the first bay of the nave.
1981-1982
Restoration of the cover of the south side of the nave (slate of Angers)
Restoration of the buttresses and buttresses (1,2,3,5,7,8) of the north façade of the nave. (cleaning, replacement of stones in poor condition using the stone of the Brauvilliers quarries)
1983-1984
Restoration of the northern façade of the transept. This facade had been the subject of a major restoration in 1907: the pinnacles and colonnettes of the old tabernacles located at the level of the rose had been restored. The new restoration cleaned the whole, took back the stones too degraded and completed the restoration of 1907 by recreating the four missing tabernacles placed above the porch. Metal elements hold them together.
Restoration of the stained glass windows of the Great Rose, the Triforium and the two Low Windows with lead restoration in these windows of all the stained glass windows of the XIIIe.
Chief Architect of Historical Monuments: M. Jouve
1984-1989
Restoration of the west façade masonry. Work began on the right side and continued on the entire façade.
Cleaning of the facade and restoration of the carved decoration in very poor condition. Many elements of the entablature and the balustrade: balustrade of the first level on the central part and the left part, balustrade on the central part on the second level, part of the entablature above the left columns on the second level, part of entablature above the columns on the right at the first level, upper part of the bases of columns on the ground floor. Taking over the heads of angels who have become formless masses (the model is inspired by the altar cherries of the chapel of the Chateau de Réveillon). Installation of diamond-shaped stained-glass windows on the aisles. Metal ties anchored in masonry have been removed as well as numerous iron staples. A U-shaped concrete beam is placed at the back of the facade at the attic level to hang up the facade as a whole formed by the first three bays of the nave. A moulding of the decoration of the tympanum is made (preserved in the attic of the building) and the cover of the nave, at the back of the façade, has also been restored.
1989
Clearing and restoration of 18th century wall paintings of the central ambulatory span representing the musicians angels and creation in the center of a false sky in place of the canvas of the Assumption formerly disappeared. These works were made in 1762 at the request of Canon Lemaître when he offered a new decoration for the axis chapel, decoration entirely dedicated to the Virgin (paintings of Annunciation, the Visitation, the Presentation at the Temple).
The different musicians angels if we look at them by putting towards the entrance of the chapel and turning clockwise are the following: angel playing the organ (photo. 1) angel playing the zither (photo. 2), angels playing trumpet and flute (photo. 3), angels playing snake and harp (photo. 4) and all around angels holding garlands and wreaths of flowers. Let us not forget that these figures surrounded a Virgin ascending to heaven.
Chief Architect of Historical Monuments: M. Gatier
1992-2001
Work on all the masonry of the south façade of the nave and the west façade of the transept arm: cleaning with water and brushing of the dripping walls, replacement of identical stone, rejoining of the whole. Replacement of the old pinnacles. Sculpture to repair some gargoyles and to replace decoration motifs of the pinnacles.
Resumption of the stormwater drainage system.
Creation of grey stained glass windows in the west bays of the north arm of the transept.
Restoration of the closed and covered sacristy.
2001-2004
Restoration of the reverse of the west façade and the first bay.
Restoration of the masonry of the high vault of the nave. Restoration of the organ stand and its decoration made in stone cardboard in 1833 by the sculptor Romagnesi (cleaning, identical recovery of the degraded parts). Painting on the entire span (this painting was redone during the restoration of the entire nave in 2009).
Restoration of stained glass windows on the aisles of the first bay. The old stained glass windows (13th to the north, 16th to the south with the creation’s glass roof) were lined on the outside with protective glazing. The breakers have been replaced, if possible, by collages to ensure a better readability of the scenes represented.
The stabilization of the west façade (1996 - 2009)
From the 18the century it was realized that the facade, built in the XVIIe In the course of the century, he began to lean insensibly. On the reverse of the facade, under the attic of the nave, is the following inscription: «in July 1707 the roof joined to the portal which was marked with 4 fingers M. Jean Houstel Prêtre chanoine Fabritien».
1996-2009
Chief Architect of Historical Monuments: M. Gatier
In 1767 metal ties are laid, they will be extended to the transept in the middle in the middle of the XIXe. Others (concrete) were also installed in 1985. However, the movement could not be completely stabilized.
In 1996 a study highlights the fragility and heterogeneity of the foundations and their poor interaction with the base soil. A sub-implementation intervention becomes necessary.
From 1999 to 2001 the chalk foundation was consolidated by injection of cement grout.
From 2001 to 2002, 30 tonnes of pressurized concrete were injected into the basement (known as the Jet-Grouting process) by 56 wells 18 metres deep. The loose soil is thus solidified and transformed into a kind of wall descending to the layer the solid layer.
The facade was then placed under surveillance to check if the tilting movement was finally stopped. The measurements reveal that the facade is not completely stabilized and that the weakness of the foundations was not the only cause of the tilt. A further study shows that a game in masonry may be partly the cause. New work has resumed.
Chief Architect of Historic Monuments: M. Chatillon
2007 to 2009: on the outside of the building grout is injected into the facade masonry to solidify the inner blockages (4,000 holes are previously drilled). Carbon fibre frames are fixed at different levels of the facade, in its thickness (1.80m) and from left to right to reinforce cohesion. On each side of the facade, at the level of the attic and the triforium, turntables have been installed; these elements are intended to put in place ties to perfect the cohesion nave/facade if necessary.
Inside the building the masonry is restored. The entire nave is cleaned. This work brings to light an interesting decoration of false joints both on the single-cylinder piles, on the columns supporting the ribs of warheads and on the spandrels of the walls. This type of decoration seems to have been used during the different periods of construction of the nave. Decorations painted on the ancient keys of the 13th century vaults are also discovered. The brick vaults (which had replaced the stone vaults in 1840) cracked during the restoration campaign by the movements of the façade are consolidated. After examination of the polychrome elements and construction of a control span, a brush is placed on the whole.
At the end of construction the canopy has been cleaned, the lighting of the nave and the choir has been revised; the grilles of the choir have been revised.
The diocese financed the construction of a high altar, ambon and cathedra (drawing by the chief architect of the historical monuments, decoration by M. Tibouchi.
Restoration of movable objects
The restoration of baptismal fontsu XIIe century
The Romanesque baptismal font, placed in the treasury room since 1957, was moved to the chapel of the south arm of the transept.
This vat recalls, by its iconography of the Last Judgment, the indispensable role that baptism plays in the salvation of souls. These are probably the most beautiful Romanesque baptismal fonts preserved in Champagne.
The work was carried out in two phases.
First, an examination of the vessel made it possible to evaluate the importance of the restorations carried out in 1957 by the Maimponte workshop. To understand it, we must recall the amazing history of this object.
The baptismal font was in the XVIIe century, in the south arm of the transept. The collapse of the organ during the 1668 fire broke it into several pieces which were then used as materials for the construction of the last floor of the south tower.
This floor was destroyed in 1903 and the fragments of the old baptismal font of the XIIe century reappeared. They were installed on the first floor of the north tower before being assembled, completed and placed in the treasure room created in 1957 to house the Romanesque stained glass windows.
During this restoration important additions were made in grey cements. Thus, one of the angels placed at the four angles is a restitution, as well as the border of the vat that accompanies it and certain parts of the coffins of the risen. The central foot and the base of the curved tank are also creations.
Originally the tank was placed on four pillars placed under the angels, at the four angles. Ancient photographs still show a fragment of a surviving colonnette.
It was not appropriate to undo this very fashionable restoration. The fonts were therefore simply moved and replaced on a new base, made with a concrete and cinder block structure ensuring a good resistance, and coated with a grey cement in harmony with the whole.
Restoration of paintings and sculptures
The coming of the messiah at the last judgment
Canvas by Guillaume-Antoine Colson (1832), executed for the cathedral of Châlons
Restored in 2000
This large painting (337cm x 261 cm), with an impressive composition, is a good example of the revival of religious painting in the first half of the 19th centurye century. The work had tears in several places and the tension on the chassis was no longer properly assured. The work was deposited, the old oil has been taken back and the canvas rested on a new frame. The paint layer has been dusted off, old paint overflowing on the original paint has been removed and taken back, limiting them to existing gaps. The old varnish has been lightened. Finally, the restorers also intervened on the carpentry and gilding of the frame.
The Presentation at the Temple
Canvas of the XVIIIe
Restored in 2001-2002
In the eighteenthe This other very large painting (240 cm x 420 cm) was part of the works given by Canon Lemaître along with Wilbaut’s two canvases in the decoration of the axis chapel. The canvas, still solid, was deposited and cleaned from the back. A wax-resin impregnation allowed a better adhesion of the pictorial layer to the support. Strips of canvas were placed to consolidate seams, small tears and borders. The set was stretched on a new chassis. The intervention on the pictorial layer consisted of a cleaning of the very dirty surface, a resumption of the gaps, treated by repaints often very disagreed with the rest of the work. After various tests, a lightening of the varnishes allowed to highlight the beautiful chromatic range of the XVIIIe century. A new frame in gilded wood was created.
The consecration of the cathedral by Pope Eugene III
XV painted panele
Restored in 2001-2008
The scene with the characters is painted on a support consisting of 11 vertical oak planks. This set is placed on a horizontal plate on which the text is written. The panel was loaned to the exhibition “20 centuries in cathedrals” at the Tau Palace in 2001. The difference in temperature and humidity had rapidly led to play in the wooden planks and the panel had to be removed from the exhibition and placed in a wetter place. The wood had gradually resumed its old appearance, the cracks had closed. However, close examination revealed the extent to which the boards forming the panel were disassembled (in particular the link between the vertical and horizontal pieces).
The restoration consisted of a complete recovery of the maintenance of the boards and a careful restoration of the pictorial surface by preserving the numerous repaints (especially the brown bottom) of the XIXe century. The length of the operation is linked in part to the desire not to replace the room in height, only after having made sure that the wood had adapted to the atmospheric conditions of the cathedral.
Translation of the Latin text placed under the scene of the consecration:
“The year of the incarnation of the Word, one hundred and forty-seven, the 7th of the calends of November, was consecrated this church of Châlons in honour of the Holy Trinity, the Blessed Virgin Mary, St Stephen, the first martyr, Saints John the Baptist, Valère, Vincent, Chrysante and Darie, martyrs, by the Supreme Pontiff Eugene III, assisted by eighteen cardinals and other bishops, abbots and other ecclesiastics appointed by order and designated by their titles in the inscription below fixed. Having thus completed the dedication ceremony, His Holiness prescribes that each year the anniversary day be solemnly celebrated, declaring by the authority of the Holy See and of Blessed Peter and Paul, that the faithful would immediately obtain forgiveness for all their sins and heavenly grace. By apostolic order and authority, this spiritual favor is granted to those who would visit this holy temple every year, solemnly celebrating this day with piety, devotion and purity of heart. In order to make the faithful foreign to the city share in the benefit of this dedication, in such a precious grace, in such a favour, the Holy Father fixes the eight days when everyone will find in this house of prayer, the place of forgiveness, the gift of grace, if he presents himself there with a devout heart, offering God the satisfaction of true repentance. Made by public act, in the form of a decree, in the manner and in the form above-designated” (from A. Boitel, “the beauties of the history of Champagne”, 1868, p. 182.)
Christ in the Garden of Olivesby Jean Restout
Canvas of the XVIIIe
Restored in 2001
The work, formerly preserved in the sacristy, comes from the chapel of the old castle of Louvois. It is due to the great artist Jean Restout. Seized as «national property» at the Revolution, it was deposited in the cathedral, at the same time as a set of panelling also from the castle and today deposited in the chapel Saint-Vincent de Paul. The state of conservation of the work was alarming. The left part of the picture had been considerably damaged by water, but the figure of Christ had suffered little. The pictorial layer that had been transposed to the XIXe century was rising and flaking in many places.
The restoration had to slowly resume the fixation of all its elements without eliminating the old canvas of transposition. The choice of a synthetic resin made it possible to ensure a good fixation without introducing into the pictorial material a material that would have altered its transparency. A protective fabric was placed on the back and a new chassis replaced the XIXe century. The recovery of the pictorial layer was then possible. The many repaints made on the upper part and on the character of the angel were lightened or removed, especially on the angel whose position of the legs could be restored by relying on the workshop copies preserved.Fortunately Christ was not altered by these modifications, we still discover it today as the painter Restout painted it around 1740. The presentation was made with the protection of a glass preserving the work of theft and blows.
The Christ of mercy
Carving
Restored in 2008
This work, presented during the exhibition The beautiful sixteenth century : masterpieces of sculpture in Champagne», held in Troyes in 2009, was the subject of a prior restoration. This exhibition project on sculpture in Champagne was developed as part of the actions of the Contract de plan Etat/Région Champagne-Ardenne 2000-2006, in the Culture/Architectural Heritage/Sculptures section. The work had already been restored in 1978, following an act of vandalism.
This new restoration was carried out to ensure a good stability to the statue (recollages of the feet) and to remove some plaster additions that had aged poorly, especially on the nose and crown of thorns.
Other restorations: funeral slabs...
Slabs funefarious
Restored in 2003
Five funerary slabs raised in the northern part of the ambulatory, were deposited, cleaned and rested. The rest was made in such a way as to isolate the slabs from the moisture of the ground and walls.
The metal supports were made more discreetly.
Antep17th century endiume (representing Christ in the tomb)
Located in the Saint-Louis chapel, south of the ambulatory
Restored in 2005
This element comes from the former abbey of the Holy Sepulchre of Cambrai, it was given in 1838 to the bishop of Châlons.
Course of restoration: dust removal, treatment of wood against insects, consolidation, cleaning of bronzes and metal paint and fasteners, which maintain the bas-relief on the wooden bottom have been passivated to avoid corrosion. Adjustments were made to the gaps. The rest of the panel, now clearly detached from the wall, allows air circulation that protects the wood from moisture.
Transi of the tomb of Jerome Burgensis (xvie)
Located in the north arm of the transept
Restored in 2006
The work was deposited and cleaned: dust removal, then salt extraction. The rust drips, due to the iron legs holding the upper part, were attenuated by a slight micro-sanding.
The rest was made with stainless metal pasta for the upper part, the lower legs were passivated and a lead wedge was placed between the iron and the stone.
Pierre gravée, XVe
Located in the north arm of the transept
Restored in 2007
Foundation inscription in 1415 of masses for his family, at the altar of Notre-Dame, by Jean de Gaucourt, archdeacon of Joinville (west wall of the north arm of the transept).
The carved stone that had been embedded in the wall was extracted, cleaned, consolidated in its powdery parts and placed on stainless steel supports. Its removal from the wall protects it from moisture.
Christ in cross of the work ban
statue of faith at the top of the pulpit
Restored in 2008
The wood was treated and cleaned. The fastening was revised.
Cleaning of the canopy
Completed in 2008
2009: Reopeningtreasure hole
After several years of work, the treasure was reopened to the public.
Lighting of the panels of the XIIe has been modified, in order to better distribute the light behind all the stained glass windows. The old Romanesque pavement has been deposited, cleaned and rested.
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