And we begin in Chartres (Dennis Aubrey)


Regular readers of Via Lucis know that we are planning our Spring/Summer trip to France and that we have posted about the upcoming section of the Pyrénées. That is the middle of the trip and today’s post is about the beginning.

2015_11_14_0a_cdg-646c0In April we fly into Paris via Reykjavík, Iceland. We do this for two reasons. First we do it because PJ hates to fly and we can break up the transatlantic section of the flight. Second, and most important, we go through the European Union customs in Iceland instead of Paris, and that is worth a great deal right there. Customs is a breeze in Reykjavík and when we arrive in Paris, we pass quickly through in the EU line. Anyone who has been caught in customs at Charles de Gaulle airport (voted in one poll the “world’s most hated airport”) when two or three international flights arrive at the same time knows exactly what this means.

We arrive at CDG about noon and will be on our way in our new car by 1:30 or so. We will head directly southwest to Chartres, where we will spend the next couple of days photographing the magnificent Cathédrale Notre Dame de Chartres. As you probably know, the cathedral is undergoing an extensive and somewhat contentious restoration. Some critics decry the loss of the “patina” of the church and its associated atmosphere. We believe that the restoration is magnificent and that the patina will be restored over time while the deterioration is stopped.

Apse from the tribunes, Cathédrale Notre Dame de Chartres, Chartres (Eure-et-Loir)  Photo by PJ McKey

Apse from the tribunes, Cathédrale Notre Dame de Chartres, Chartres (Eure-et-Loir) Photo by PJ McKey

The last time we were in Chartres, the apse had just been completed and the teams were working on the side aisles. The nave was untouched. We understand now that both the side aisles and the nave have been completed, which means the interior is almost complete. Some sets of windows still are being restored, but it will be our first opportunity to see and photograph the restoration of Bay 140, financed by our great colleagues at the American Friends of Chartres, who previously financed the restoration of the superb evangelist lancets in the south transept.

The south transept lancets, Cathédrale Notre Dame de Chartres, Chartres (Eure-et-Loire) Photo by Dennis Aubrey

The south transept lancets, Cathédrale Notre Dame de Chartres, Chartres (Eure-et-Loire) Photo by Dennis Aubrey

Of course when we go to Chartres we have to visit with the indomitable Servane de Layre Mathéus, head of Chartres, Sanctuaire du Monde, a private French organization, which for 14 years has worked in close cooperation with the Historic Monuments Commission and supports the public efforts of the French government to restore this glorious cathedral. We also get to spend time with Gilles Fresson, historien et intendant of the cathedral. He is a fountain of knowledge about Notre Dame de Chartres and guides us through the walls and in the hidden corners of the structure.

South side aisle, Cathédrale Notre Dame de Chartres (Eure)  Photo by Dennis Aubrey

South side aisle, Cathédrale Notre Dame de Chartres (Eure) Photo by Dennis Aubrey

Sirui P-204S monopod

Sirui P-204S monopod

In preparation for the work at Chartres, we have made some changes in equipment. PJ now has a new camera, the latest version of the estimable Canon 5D that she has used for a decade. It gives her much greater resolution and the “Live View” preview.

Our work demands that we use tripods because of the long exposures that we use in the churches. This works perfectly for most of the time, but there are times when the tripod is too bulky to us. For that reason, we also got PJ a monopod, the Sirui P-204S, to carry when she enters the upper warrens of the cathedral. No longer does she have to lug her tripod in those close and narrow confines. With this fine piece of equipment, she has a versatile monopod/tripod that folds down to just two feet and weighs less than three pounds.

It is hard to believe we are so short a time away from this trip. In two months we will be photographing Chartres again starting our France adventure for 2017. Can’t wait to show you the results of the photography and the restoration.

Unrestored Cathédrale Notre-Dame de Chartres (Eure-et-Loir)  Photo by PJ McKey

Unrestored Cathédrale Notre-Dame de Chartres (Eure-et-Loir) Photo by PJ McKey

Researching our 2017 trip (Dennis Aubrey)


PJ and I are now a mere 10 weeks from leaving for Europe and the excitement mounts as the preparations intensify. We have been diligently researching our target areas for the Romanesque gems that delight us. There are many places on the internet, both amateur and official Patrimony sites, where we glean the information. How do we collate it all? Since the very beginning of the Via Lucis project in 2007 we have used Google Earth as the repository of information. Except for a few glitches, it has worked beautifully – as you can see from this map, we are able to track both the churches that we intend to photograph (with the orange icons) and the ones that we have photographed (red icons).

Google Earth database of churches

Google Earth database of churches

Each individual marker contains information on the churches that is important for our research – descriptions from the sponsoring Patrimony organization (in France, this would be the Patrimoine de France), relevant descriptions from expert sources (like the famed Éditions Zodiaque), links to other sites, and photographs. We often include address information (even though the icons are precisely placed over the chancel crossing of every church, if possible) and hours and rules of visitation.

Google Earth entry detail

Google Earth entry detail

We have also been developing the same database for Romanesque churches in England, Spain, Germany, and Italy. Those are, of course, much less exhaustive than the French database. Our French Gothic database is also under early stages of construction. If these seem like exhaustive databases, consider the real numbers. Our French database consists of about 1080 Romanesque churches, which represents less than 25% of the total number found in the country.

Based on these maps, we plan our itinerary for each trip. There are a couple of provisos – we must always stop in Lacave in the Lot to stay (and eat) at the Pont de l’Ouysse. As I have mentioned before, this is my omphalos, the center of my spiritual universe and I have gone there every trip since 1986. The Pont de l’Ouysse is always our “splurge” place but it is worth every penny. Second, we must stay at the Crispol in Vézelay. Vézelay is critical, of course, because of the presence of the magnificent Basilique Sainte Madeleine on top of the hill. But we must also go because across the valley is the Crispol hotel, run by the equally magnificent Paule Schori. She is a force of nature and has become a dear friend. We are so delighted to be spending three days with her again this year.

Hotel Crispol

Hotel Crispol

Finally, we are making one small two-day detour that has nothing to do with Romanesque churches at all. We are going to drive from Sisteron in the Provence through the old Alpine roads to the tiny Italian town of Chiomonte. Why would we do this? Part of it is to drive the old roads that I remember from my childhood. Chiomonte is known for the seven old fountains that adorned the chemin royal of the country. But our reason to visit is the Ristorante e Affittacamere Al Cantoun. The restaurant is a small building in an old private square. The young chef is Paolo Aiello and his Piemontese cooking is spectacular. We stayed there on our way into Italy in 2015 and again on our way back to France – we can get as excited about finding a great new restaurant as an old Romanesque church!

Ristorante Al Cantoun, Chiomonte

Ristorante Al Cantoun, Chiomonte

So the trip is planned, the lodging all booked, car reserved, airplane tickets purchased. We land in Paris on April 19 and go directly to Chartres, where we will spend two days photographing the Cathédrale Notre Dame de Chartres. More on that in the next post!

The Song of the Cathedrals (Dennis Aubrey)


Sometimes it feels like the world is old and tired. We are desolated by an election that showed just how far we have lost our way. We have lost scent of truth like a hound turning haplessly in circles sniffing forlornly. And then someone shows us something that elevates the spirit and makes us smile again.

For me, this someone was my long-ago ex-student Lee Pochapin, who posted this wonderful video of the Rockin’1000, an Italian project of one thousand volunteer musicians performing David Bowie’s “Rebel Rebel”. Watching it I personally felt the spirit of those thousands who built the great cathedrals so many centuries ago, cathedrals that are often the subject of this blog. To see such a communal spirit, working selflessly in common, makes me understand how those structures came to exist. The builders were singing the songs of the cathedrals, for where but in music can a multitude act freely in perfect unison?

concert-boy

Watching this made me feel for just a short moment like that young boy looking out in wonder at the people cheering him and all the others with their instruments. It makes me feel part of something larger again, something greater than my our little world. For that, I have to be thankful. Thanks, Lee.

Ambulatory, Cathédrale Saint-Etienne, Bourges (Indre)  Photo by Dennis Aubrey

Ambulatory, Cathédrale Saint-Etienne, Bourges (Indre) Photo by Dennis Aubrey

A Via Lucis Lecture


PJ and I are going to give a presentation on Romanesque church architecture for the English Speaking Union in Columbus, Ohio. The event will be on September 11 at the Scioto Country Club.

esu-banner

The English-Speaking Union was formally organized in the United States in 1920 and arose from the conviction of its founder, Sir Evelyn Wrench and a group of like-minded American and British friends, that maintenance of the close personal and national ties forged during World War I was necessary for the preservation of peace. He imagined the ESU as an inclusive organization “founded in no narrow attitude of race pride, in no spirit of hostility to any people.”  The Columbus chapter was founded in 1923.

If any of the Via Lucis community are interested in attending, here is the online reservation link. Proceeds from the event will go to support the High School Shakespeare Competition.

Here is the information on the event:

Location: Scioto Country Club
2196 Riverside Drive
Columbus, OH 43221

Date: September 11, 2016

Time: Noon

If you are in the area, we would love to see you there!

A New Website (Dennis Aubrey)


The Via Lucis blog has not been as active for the last month, but we have pretty good reasons for this. First, we now have a new website at http://www.vialucispress.com. It is a fairly simple site designed to summarize our various operations like this blog, licensing our images, exhibitions, and speaking engagements. It will later be expanded to do other functions, many of which – like the sale of prints and licensing – that will eventually be removed from this blog site.

Via Lucis web

We would love to hear your thoughts and suggestions about the site. One quick note – the music on the site, Ubi Caritas et Amore, was composed by our friend Edward Bilous. We think it is a magnificent partner to our images.

Second, we are moving! PJ and I have bought a house in Hideaway Hills, about 30 miles southeast of Columbus, Ohio. We actually move in June, but there is so much to do. We will try to stay current on Via Lucis as much as possible, because frankly we miss the interaction with so many of you here.

The Metropolitan and his Cathedral – Saint-Étienne de Sens (Dennis Aubrey)


The Department of Yonne in Burgundy is one of our favorite places in France and very fertile for our photographic explorations. It is home to the Basilique Sainte Madeleine in Vézelay, the Cathédrale Saint-Étienne in Auxerre, the Collégliale Saint Lazare in Avallon and also the Cathédrale Saint-Étienne de Sens.

Today, Sens is a fairly quiet town of about 27,000 people, the second most important of the Yonne after Auxerre. One would have no idea from its current state just how important Sens was in the Middle Ages as the seat of the “Primate of Gaul,” perhaps the most important bishop in France and superior to the bishopric of Paris. For much of the early Middle Ages, the Kings of France were anointed here, not at Reims.

Sens was the capital of an ecclesiastical province composed of several neighboring dioceses and headed by a metropolitan, the archbishop designated by the Pope. At its height, the Archdiocese of Sens counted seven suffragans – subordinate bishops – at Chartres, Auxerre, Meaux, Paris, Orléans, Nevers, and Troyes. Only in 1622 was Paris raised to the status of a Metropolitan See and Chartres, Orléans, and Meaux were separated from Sens.

Nave, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

Nave, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

Sens was an important settlement long before the Middle Ages. It was the site of an oppidum of the Senones, a Celtic tribe of Gaul. Caesar called it Agedincum and it later became an administrative center of Roman Gaul, situated at the intersection of the roads from Troyes to Orléans and Lyons to Paris . The first recorded Christian activity on the site was founded by the Saints Savinian and Potentian, sent by the Bishop of Rome in the 4th Century to proselytize the Gauls. They were martyred in 390. Their church was rebuilt in the sixth or seventh century. In 731, the Saracens ranged far enough north that they besieged the town, which was rescued by its bishop.

In the ninth century, the earlier church was succeeded by a Carolingian edifice, but this burned in 982. The church was immediately reconstructed by the Bishop Seguin and consecrated a few years later.

Around 1135, the Archbishop of Sens, Henri Sanglier, decided to replace the Carolingian cathedral of the tenth century with a structure befitting the importance of the metropolitan see over which he presided. Archbishop Sanglier was a singular person in the French landscape. He was a friend of both Abbot Suger of Saint Denis and Bernard of Clairvaux. He twice gave refuge to Thomas à Becket during his struggles with King Henry II. The second time was after Becket was forced to leave the abbey of Pontigny after the English monarch threatened to close every Cistercian house in England. When he was welcomed to Sens, Becket enthused, “ô douce, encore, ô très douce France! Oui, elle est douce, vraiment douce, la France!”

At the time of Sanglier’s rebuilding, church architecture was dominated by the great Romanesque churches. Sanglier commissioned a new architect to build his new church, who proposed building with a revolutionary form of vaulting – the rib vaulting that had begun to appear in the Norman churches in France and England. Although the finished cathedral in Sens was not completed for four centuries, the main structure was the product of a single mind, Guillaume de Sens. While there is no direct documentary record, there is enough evidence that we can perhaps infer the identity of the architect.

Ambulatory, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Ambulatory, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Saint-Etienne was constructed in its original form between 1135-1164 and was consecrated on 19 April 1163 by Pope Alexandre III, who was then in exile in Sens. This makes Saint-Étienne the oldest Gothic cathedral in France. The first Gothic structure is the Abbey Church of Saint Denis, built by Suger, but it did not become a cathedral until the 20th Century.

There is an interesting side note to Guillaume de Sens. Becket was at Sens during the time of the building of Saint-Étienne and when he returned to Canterbury, he made plans to rebuild the cathedral there. He was assassinated before he could do so, but the architect who was hired to build was the same Guillaume de Sens. Some historians speculate that Becket made the recommendation. In 1180 while working on the construction, Guillaume fell fifty feet from the scaffolding. Crippled, he returned home to Sens where he died soon after.

Nave and sexpartite vaulting, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

Nave and sexpartite vaulting, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

The architecture of the Cathédrale Saint-Étienne de Sens is defined by three elements – the vaulting, the width of the nave, and the style of the nave pillars and columns.

The church features early Gothic sexpartite vaulting over a modest clerestory, and may even have been the first church to be completely vaulted in this manner. Like the Romanesque churches it was designed to supplant, there was a gallery between the aisle arcades and the clerestory level.

Crossing vault, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

Crossing vault, Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

The church’s size is fairly modest, perhaps because the builders were not completely confident in the new architectural style. Saint-Étienne feels Romanesque; it is perhaps more solid than beautiful.

The interior lacks height but is very wide. A comparison with the almost-contemporary Notre Dame de Paris is telling. Sens’ length is 113.5 meters, which is smaller than Notre Dame de Paris at 128 meters. The nave height is 24.4 meters, much lower than Paris’ 33.5 meters. The width of the nave, in contrast, is 15.25 meters, almost two full meters larger than Paris. This width is one of the distinguishing factors of the Saint-Étienne de Sens. It also makes clear the builders’ intent to cover the structure with a vault, since it is too large for a wooden roof.

Finally, there is an interesting variation in the nave arcade supports – alternating piers and columns between the bays. This was not an innovation at Sens, but a very interesting stylistic choice.

Alternating pillars and columns in nave, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Alternating pillars and columns in nave, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

In addition to the architectural details, Sens contains some magnificent stained glass throughout the cathedral.

Transept windows, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Transept windows, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

There are four in particular that are remarkable – the choir ambulatory lancets that were created at the beginning of the 13th Century, probably from Suger’s school at Saint Denis. They tell the story of Saint Eustache,the Prodigal Son, the Good Samaritan and finally the story of Thomas à Becket and his martyrdom at Canterbury.

Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

Cathédrale Saint-Étienne de Sens (Yonne) Photo by Dennis Aubrey

The cathedral is the heart of Sens, visible from a great distance across the Yonne plain. There is little in the modern town to suggest that it was at the center of the life in 12th Century France and home to one of the most powerful prelates in the Church. But stepping inside, we can see the care and pride of both the patron and the builder in the stone and glass of Saint-Étienne de Sens.

Ambulatory chapel, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Ambulatory chapel, Cathédrale Saint-Étienne de Sens (Yonne) Photo by PJ McKey

Location: 48.198142 3.284078

An article on the restoration of Notre Dame de Chartres


Our colleagues at American Friends of Chartres (AFC) have posted an interesting article on the restoration of the Cathédrale Notre Dame de Chartres by AFC Trustee Craig Kuehl. The article includes photographs on some of the restoration work that is proceeding on the stained glass windows of Bay 140, AFC’s current project.

Claire Babet explains the work to be done on Bay 140 (Photo by Craig Kuehl)

Claire Babet explains the work to be done on Bay 140 (Photo by Craig Kuehl)

The first photograph above shows the before/after state of a section of the window that was used for a test-cleaning. The second photo below gives a hint at the enormity of the challenges faced by the stained glass restoration specialist Claire Babet and her team as the windows arrive for processing.

Chartres windows after arriving at Atelier Vitraux of Claire Babet (Photo by Craig Kuehl)

Chartres windows after arriving at Atelier Vitraux of Claire Babet (Photo by Craig Kuehl)

The artisans of Claire BABET Vitraux must disassemble the entire window, clean and process each individual piece of glass, and then remount the ensemble to its original form.

Removing the lead lining  (Photo by Craig Kuehl)

Removing the lead lining (Photo by Craig Kuehl)

These photos and this article are an excellent introduction to the nature of the work being done to preserve and restore the treasures of the cathedral. We’ll try to keep you posted on the work as American Friends of Chartres helps Bay 140 comes back to brilliant life.