Two Deacons Notre Dame

T WO DE ACONS NOTRE DAME Nuria Lázaro Milla T WO DE ACONS NOTRE DAME Nuria Lázaro Milla Two Deacons Notre Dame Publisher Jaime Eguiguren Project Director Jaime Eguiguren Author Nuria Lázaro Milla Translation Laura Beratti ??????? T WO Design and Layout DE ACONS Laura Eguiluz de la Rica NOTRE DAME Photography Joaquín Cortés Noriega Printing & Binding Artes Gráficas Palermo Nuria Lázaro Milla © 2017 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without the prior permission in writing from the publisher. TWO DEACONS NOTRE DAME CONTENTS 10 ESTABLISHING THE ORIGIN — SCIENCE AT THE SERVICE OF ARTS Inside Notre-Dame de Paris (?) 19 Formal and stylistic analysis 29 STATISTICAL ANALYSIS OF SAMPLES FROM TWO STATUES OF DEACONSCENTURY The Limestone Sculpture Provenance Project 6 TWO DEACONS NOTRE DAME 7 Deacon 1 France, Île-de-France, Paris, Notre-Dame Cathedral (?). Ca. 1250. Carved limestone with traces of polychromy. Height 112 cm. 8 TWO DEACONS NOTRE DAME 9 Deacon 2 France, Île-de-France, Paris, Notre-Dame Cathedral (?). Ca. 1250. Carved limestone with traces of polychromy. Height 112 cm. DEACON 2 France, Île-de-France, Paris, Notre-Dame Cathedral (?)Ca. 1250 Carved limestone with some traces of polychrome Height 112 cm 10 TWO DEACONS NOTRE DAME 11 Nuria Lázaro Milla Establishing the origin – Science at the service of Arts In 2014, samples taken from the two sculptures the study of which is presented in these pages were sent to the Research Reactor Center of the University of Missouri, where they underwent instrumental neutron activation analysis (INAA), a radioactive procedure used to determine the concentrations of elements that integrate a material. After comparing the results with more than 2,300 profiles registered in the database of The Limestone Sculpture Provenance Project, it was concluded that their composition coincided largely with the limestone found in quarries and monuments of Île-de-France, a similarity percentage that increased significantly in the comparison with fragments originated from or related to the cathedral of Notre-Dame de Paris. Inside Notre-Dame de Paris (?) The excellent state of preservation of both sculptures, which still maintain remains of polychrome, evidences that they were conceived to enrich the interior of a temple. Proposing that this was Paris Cathedral, as the scientific examination seems to suggest, it is possible that their original location was in the Gothic jubé (rood screen) or high choir; although, by the date, it is true that other possibilities, such as the extension of the northern arm of the transept, should not be dismissed. As far as evidence goes, the only two graphic documents that reflect the appearance of the primitive jubé of Notre-Dame de Paris are the following: 12 TWO DEACONS NOTRE DAME 13 and Eve’s- and two suffering faces that emerge from the flames, preserved in the Louvre Museum. It also included a free-standing sculpture, as it was crowned by a crucifixion between Virgin Mary and St John. Not without difficulty, the Recozs des voltes et cross in Collier’s engraving can be observed, which is, furthermore, the only devis de nre dame de reference of the jubé mentioned by some historians that visited the Cathedral in paris, view number 39, the fifteenth (Guillebert de Metz, Description de la ville de Paris, 1434), sixteenth shown in Jean Pèlerin’s (Gilles Corrozet, La fleur des antiquitez, singularites, et excellences de la noble et De Artificiali Perspectiva triumphante ville et cite de Paris..., 1532), and seventeenth centuries (Jacques (1505) du Breul, Le theatre des antiqvitez de Paris..., 1612). Collier’s view shows vertical elements on the columns that articulated the arcade, ornaments that could be pinnacles or figures such as those that occupy this investigation, as they rest on chapiters. Paris, Notre-Dame Cathedral, elevation of the Notre-Dame de Paris’ jubé was built in the middle of the thirteenth century choir door and side chapels (detail), Jules (1250-1260), contemporary to the northern front of the transept and the Hardouin-Mansart 1699 Paris, Bibliothèque beginning of the south, a work that was under the direction of architect Jean Nationale de France. Portraict & perspective de Chelles. Later, during the fourteenth century, the closing of the choir was du dedans de l’eglise undertaken on the north, south and east sides. Nostre Dame de Paris, 1587, by Jacques The changes in the religious practices prescribed by the Council of Trent (1545- Collier. 1563) meant the disappearance of a large number of jubés in reaction against the Protestant critics over the hierarchy of the Catholic Church. However, in the case of Notre-Dame de Paris, the stone Gothic jubé was replaced in 1628 by another These are very succinct representations, because the authors focused their interest on one of wood in baroque style, according in taste with a new altar erected to the the architectural design and in the overall dimensions of the building. Nonetheless, Virgin in its south part, financed by Queen Anne of Austria. Curiously, the group they enable us to know that the Gothic jubé of Notre-Dame de Paris was erected as a of the crucifixion was respected, until 1708, in the days of Louis XIV, when it loggia, with a wall in the eastern side that closed the access to the choir, and opened was replaced by an elaborate latticework. towards the central nave by five arches finished in gables and supported by columns. Reconstruction of the Gothic jubé and The top of the structure was covered by a balustraded gallery from where the closing of the choir of the cathedral of Notre- It is important to emphasize that from different sources such as the preceding Holy Scriptures were read and the sermons were pronounced. In front of the jubé Dame de Paris (detail), Eugène Viollet-le- drawing or the testimonies of travelers previously mentioned, Eugène Viollet-le was the altar where the priests celebrated mass for the faithful. Duc. Duc rebuilt, in false, the Gothic jubé of Notre-Dame de Paris. This engraving illustrates the voice “chorus” Although not shown in these images, it is known that the Gothic jubé of Notre- in the Dictionnaire raisonné de l’architecture Recently exposed historical events invite us to consider that the sculptures left the Dame de Paris was covered by relieves portraying scenes of the passion, death and française du XIe au XVIe siècle (Paris, Morel, cathedral in 1628. Their placement in an elevated location could prevent them resurrection of Christ. From them, only the Descent of Christ into hell (Harrowing 1875, vol. 3, page 233). from suffering damages from iconoclastic hordes during the eight religious wars of Hell) can be identified, in a fragment with two naked torsos -presumably Adam that succeeded without interruption between 1562 and 1598. 14 TWO DEACONS NOTRE DAME 15 When drawing parallels with coeval sculptures that also decorated the Parisian cathedral, the following examples can be presented: (Left) Angel head(?), France, Paris, Notre-Dame Cathedral (?), ca. 1250, limestone, 24,5 cm (9.64 in), Nueva York, The Metropolitan Museum of Art. Origin determined by instrumental neutron activation Head of theological virtue(?), France, analysis. It could have been part of the jubé. Paris, Notre-Dame Cathedral, ca. 1250- 1258, limestone, 33 cm (13 in), Paris, Musée de Cluny. From the front of the north transept, this head was mutilated and removed from its original location in 1793, in (Left) Angel head(?), France, Paris, Notre-Dame Cathedral the middle of the French Revolution. It (?), ca. 1250, limestone, 30,5 cm (12 in), Durham, was reused on the foundations of Hôtel Nasher Museum of Art at Duke University. Moreau, and discovered in 1977 during (Underneath) Origin determined by instrumental neutron the construction of the headquarters of activation analysis. It could have been integrated to the the Banque Française du Commerce front of the north transept. Exterieur 16 TWO DEACONS NOTRE DAME 17 (Left) Female figure (martyr?). (Right) Male figure with phylactery (prophet?), France, Paris, Notre- Dame Cathedral, ca. 1250, limestone. Archivolts on the right side of the north front of the transept. Angels, France, Paris, Notre- Dame Cathedral, ca. 1250, limestone. Archivolts on the right side of the north front of the transept. 18 TWO DEACONS NOTRE DAME 19 Formal and stylistic analysis Two deacons are erected above chapiters made of acanthus leaves, medieval interpretation of classical Corinth, and molded hexagonal cymatium. They wear alb or dalmatic, and, as servants of the Church, they carry cult objects in their hands. Unfortunately, these objects are lost, but their bases seem to indicate that they were candelabras and candlestick holders. They are a magnificent example of the progressive interest on naturalism that Gothic sculpture showed. Although their heavy wide pleated clothes hide the figures’ anatomy and endow them with the typical solemnity of a column, the contrapposto that can be observed in the feet provides some movement and contributes to break frontality and symmetry. The illusion of a leg slightly bent, which is more noticeable in Deacon 2, makes the feet exceed the limits of the base, as if the statue would want to free itself from its condition, performing, at the same time, the everyday gesture of self-supporting the body weight when standing for a long time. Feet detail of Deacon 2. It is worth emphasizing the shadow that the right toes project when surpassing the edge of the base. 20 TWO DEACONS NOTRE DAME 21 Detail of the face of Deacon 2. Detail of the face of Deacon 1. Dark color traces above the shoulder and on the right chest of the figure In the passage from conventional representation to realistic experience, the can be observed.

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