Tour of the choir

Tour of the choir

As we make our way through the cathedral, which is said to be the archetype of Gothic architecture – which is why it is a UNESCO World Heritage Site – visitors may be surprised by certain features that do not clearly date back to the early 13th century.

For example, as you walk up the nave towards the choir, you will discover :
– on the right (south, in addition to the pulpit): the flamboyant Vendôme chapel, then the organ case;
– at the transepts: the altar and contemporary liturgical furnishings by the goldsmith Goudji ;
– then the choir, restored in the 18th century with stucco, marble and gilding, with Bridan’s imposing Assumption in the background;
– and finally, as you enter the ambulatory, the impressive choir enclosure, commonly known in Chartres as the ‘Tour de Chœur’, a richly worked stone wall adorned with sculpted scenes.

Ascent to the choir © A. Gouache
Up the nave, on the right: Vendôme chapel and organ case © A. Gouache
Glass roof of the Vendôme chapel © S. Godts
The organ case © A. Gouache
Transepts: altar and contemporary liturgical furnishings by goldsmith Goudji © A. Gouache
At the back of the choir, Bridan’s imposing Assumption © A. Gouache
The Assumption, of Bridan © A. Gouache
Entrance to the ambulatory: the choir enclosure © A. Gouache

Overview…

Before the present enclosure, there was already a wooden fence – sometimes supplemented by hangings to better isolate the sacred space from the choir, to encourage the canons’ meditation, but also to protect them from draughts…

In 1513, the chapter of canons decided to replace it with a stone enclosure, financed – at least initially – from their own funds.

Between the start of construction in 1516 by Jehan de Beauce (a master mason who had just completed the north tower in the flamboyant style) and the installation of the statues in the last sculpted scene in 1714, 2 centuries thus elapsed.

 

This delay can probably be explained by the difficulties encountered, of various kinds:
– financial difficulties, certainly,
– but also politico-religious problems: the Protestant Reformation and the Wars of Religion in particular.

The canons who conceived this project were probably motivated by theological reasons linked to the upheavals of their time.
It was indeed a turbulent time for the Catholic world, with the writings of Martin Luther and his condemnation for heresy coming a few years later.
The canons’ insistence on the story of Mary could easily be a response to these new trends, which were considered heretical (for example, on March 24, 1515, a painting was attached to a church pillar: it was considered incongruous and heretical…).

 

Architectural features…

The Tour de Chœur, or choir tower, is almost a hundred meters long and 6 meters high, and even more at the tip of the upper canopy spires.
Vernon and Saint Leu stone are used for the lower and upper sections, as well as Tonnerre and other stones for the carvings.
It was built starting with two straight sections, first on the north side, quickly followed by the south.

The wall is divided into forty bays, delimited by buttresses adorned with statues of bishops.


Vertically, there are four levels:
– a base (‘soubassement’) – sometimes adorned with sculpted medallions,
– a clerestory (‘claire-voie’), almost entirely filled with plaster,
– 40 niches with sculpted scenes,
– a crown (baldachin) made of stone lace, in the flamboyant style.

What do the carved scenes tell?

These sculpted scenes tell the story of Mary and Jesus: the reading begins as you leave the south transept and enter the ambulatory.

Who else but God the Father could have been present at the beginning of the reading of this picture book…

 

God the Father, south entrance to the ambulatory © A. Gouache

He is wearing the pontifical tiara, holding the globe in his right hand and probably carrying the scepter in his unfortunately severed left hand. He is the Creator, at the origin of everything, and who will give his Son to the World in Christian Revelation.
And it is to this coming of the Son into our World, through Mary, that God now invites us…

Many of the scenes presented here come from the Bible, but also from apocryphal writings. ‘Apocryphal’ does not mean mysterious or inaccurate, but not recognized as essential truth by the Church. These writings may be several centuries later than the New Testament texts. Nevertheless, certain passages from these writings are frequently taken up by Christian tradition, but not all of them. Here, the references are: the Protevangile of James, the Evangile of Pseudo-Matthew, the Book of the Nativity of Mary.

The first two scenes: a few key points…


The first two scenes show a man and a woman, each on their own, even turning their backs on each other. What explains this situation?

It’s a scene that’s not shown here, which is the cause of the separation of these two sculpted figures… The man is Joachim, Mary’s father. On a day of great celebration in Israel, he is refused his offerings by the high priest because of his sterility, a condition considered a divine disgrace. Joachim, ashamed before God and ashamed before men, goes off to hide his weeping by herding cattle far away, abandoning his home and his grieving wife. Hence Joachim on the left and Anne on the right.

Does the carving correspond to the canons’ request?
Yes, Joachim is standing among his shepherds and animals.
Look at these shepherds:
– one with his very realistic bagpipes ;
– the other with his shearing tools;
– and these animals: dog, goat, sheep…
The same is true of Anne, shown standing with her book on the desk, and the prayer cushion marked with the imprint of her knees. At her side is the maid, her clothes and her pretty pitcher.

Scene 1: the Announcement to Joachim © A. Gouache
Scene 2: the Announcement to Anne © A. Gouache

In each of the two scenes, we see curious black hooks, towards which our two figures seem to be turning; these hooks are in fact supports that once each held an angel.
Angels are divine messengers who reveal God’s purposes. Joachim and Anne receive the same message: a child promised to a special destiny will be given to them. The angel invites them to meet at the golden gate of Jerusalem.
Jerusalem, in the vision of the Middle Ages: a fortified city protected by crenellated ramparts, towers and fortified gates…
The Golden Gate is imposing.
According to the prophet Ezekiel, this is the gate through which the Messiah is to return. Could this be an allegory of the coming Nativity of Jesus? And therefore a foretaste of the scenes to come?
The bride and groom meet again. Look closely at their embrace: they look deep into each other’s eyes, hold hands delicately and tenderly on each other’s clothes. It’s the joy of reunion! And time to give thanks to God!
Doesn’t this chastity herald Mary’s immaculate conception?
It’s amusing to see that the maid, standing to one side, modestly looks away so as not to disturb the couple. And the dog, a sign of fidelity, has disappeared, but its traces were still visible, according to Abbé Bulteau in the 19th century.

The other scenes…

The 37 scenes that follow sum up the life of Mary and Jesus, culminating in the apotheosis of Mary’s crowning in heaven by the Holy Trinity: Father, Son and Spirit.

The Cathedral Visitor Service invites you to enter the cathedral and take the time to read this veritable stone comic strip.

Visits and lectures are regularly led by the cathedral’s volunteer guides, who love to share the discovery of the treasures it conceals, as well as the messages its designers have left for visitors since its origins.

Don’t hesitate to find out more about these tours by consulting the cathedral’s diary, as well as the Visiter differently page, which will feature them regularly throughout the year.

Tour of the choir, scenes 1 to 6 @ A. Gouache
Choir tower, view from south ambulatory © A. Gouache
Choir tower, scenes 6 to 10 framing the clock © A. Gouache
Choir tower, clock face © A. Gouache
Tour of the choir, scenes 16 and 17 © Mgr P. Christory
Tour of the choir, scenes 17 and 18 © A. Gouache
Choir tower, view from south ambulatory © A. Gouache

Restoration completed

Les Amis de la cathédrale

The choir enclosure has undergone a magnificent restoration, carried out by the DRAC with exceptional sponsorship from the Amis de la cathédrale association (1.5 M€).

This financial support goes hand in hand with raising public awareness of the beauty of the work, which is gradually being rediscovered to the amazement of visitors and pilgrims alike, art lovers and historians alike.
The project, which began in 2016, will be completed in 2022.