Vanessa Brito et Pauline Vermeren
The capitals on the first level of the choir of Notre-Dame de Paris form a sculptural ensemble of exceptional richness, which is both highly coherent and remarkably diverse in form. Never before attempted on the scale of the entire choir, an in-depth analysis of the forms and motifs used in these c...
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| Formato: | Article ou chapitre numérique |
| Idioma: | Français |
| Publicado: |
2025
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | The capitals on the first level of the choir of Notre-Dame de Paris form a sculptural ensemble of exceptional richness, which is both highly coherent and remarkably diverse in form. Never before attempted on the scale of the entire choir, an in-depth analysis of the forms and motifs used in these capitals reveals valuable insights into the organisation of the building site during the first decade of the reconstruction launched by Maurice de Sully in the 1160s. The very nature of the sculpted decoration and the varying quality of its execution allow us not only to identify the presence of a major artistic figure throughout the project, but also the existence of other contributors, and even several distinct teams in the case of the largest capitals, as well as instances of clear borrowing or inspiration between the various contributors. The sequence of the physical progress of the building work – or at least the installation of the capitals, which was likely linked to the progress of the masonry – also seems to emerge quite clearly. Finally, combined with the structural analysis of the monument, two particular capitals suggest the existence of a change of plan in the very design of the ambulatory, where two columns appear to have been added during the course of construction.
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