Basilica of St Denis - Wikipedia, the free encyclopedia. West fa. The building is of unique importance historically and architecturally as its choir, completed in 1.
Gothic church. The site originated as a Gallo- Roman cemetery in late Roman times. The archeological remains still lie beneath the cathedral; the people buried there seem to have had a faith that was a mix of Christian and pre- Christian beliefs and practices. Genevieve purchased some land and built Saint- Denys de la Chapelle. In 6. 36 on the orders of Dagobert I the relics of Saint Denis, a patron saint of France, were reinterred in the basilica. The relics of St- Denis, which had been transferred to the parish church of the town in 1. In doing so, he is said to have created the first truly Gothic building.
Although it is universally known as the . He was decapitated on the hill of Montmartre in the mid- third century with two of his followers, and is said to have subsequently carried his head to the site of the current church, indicating where he wanted to be buried.
A martyrium was erected on the site of his grave, which became a famous place of pilgrimage during the fifth and sixth centuries. Dagobert also commissioned a new shrine to house the saint's remains, which was created by his chief councillor, Eligius, a goldsmith by training. An early vita of Saint Eligius describes the shrine: Above all, Eligius fabricated a mausoleum for the holy martyr Denis in the city of Paris with a wonderful marble ciborium over it marvelously decorated with gold and gems.
He placed golden apples there, round and jeweled. He made a pulpit and a gate of silver and a roof for the throne of the altar on silver axes. He made a covering in the place before the tomb and fabricated an outside altar at the feet of the holy martyr.
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So much industry did he lavish there, at the king's request, and poured out so much that scarcely a single ornament was left in Gaul and it is the greatest wonder of all to this very day. It has an additional aisle on the northern side formed of a row of chapels. The west front has three portals, a rose window and one tower, on the southern side. The eastern end, which is built over a crypt, is apsidal, surrounded by an ambulatory and a chevet of nine radiating chapels.
The basilica retains stained glass of many periods (although most of the panels from Suger's time have been removed for long- term conservation and replaced with photographic transparencies), including exceptional modern glass, and a set of twelve misericords. The basilica measures 1. The Carolingian church.
The first church mentioned in the chronicles was begun in 7. Pepin the Short and completed under Charlemagne, who was present at its consecration in 7. By 8. 32 the Abbey had been granted a remunerative whaling concession on the Cotentin Peninsula. According to one of the Abbey's many foundation myths a leper, who was sleeping in the nearly completed church the night before its planned consecration, witnessed a blaze of light from which Christ, accompanied by St Denis and a host of angels, emerged to conduct the consecration ceremony himself. Before leaving, Christ healed the leper, tearing off his diseased skin to reveal a perfect complexion underneath.
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A misshapen patch on a marble column was said to be the leper's former skin, which stuck there when Christ discarded it. Fantastical though they may seem now, the popularity of such myths in medieval accounts go some way to explaining why any redevelopment of the original church was a sensitive matter and why Suger found it necessary to go to such lengths to justify his changes. Having been consecrated by Christ, the fabric of the building was itself regarded as sacred. In his famous account of the work undertaken during his administration, Suger was careful to explain and justify his decision to rebuild the church, complaining at length about the parlous state of the old structure and its inability to cope with the crowds of pilgrims visiting the shrine of St Denis, particularly. Apse and northern facade, lithography by Felix Benoist.. Denis . Like many French clerics in the 1. CE, he was a follower of Pseudo- Dionysius the Areopagite, a 6th- century mystic who equated the slightest reflection or glint with divine light.
When renovated, the Saint- Denis basilica included Suger's own words carved in the nave: . Both remain anonymous but their work can be distinguished on stylistic grounds.
The first, who was responsible for the initial work at the western end, favoured conventional Romanesque capitals and moulding profiles with rich and individualised detailing. His successor, who completed the western facade and upper stories of the narthex, before going on to build the new choir, displayed a more restrained approach to decorative effects, relying on a simple repertoire of motifs, which may have proved more suitable for the lighter Gothic style that he helped to create.
Suger began his rebuilding project at the western end of St Denis, demolishing the old Carolingian westwork, with its single, centrally located door. He extended the old nave westwards by an additional four bays and added a massive western narthex, incorporating a new fa.
This tripartite arrangement was clearly influenced by the late 1. Only the south tower survives, its partner having been dismantled following clumsy repairs in the 1. The major innovation in the fa. This clear delineation of parts was to influence subsequent west fa. The rose window at the centre of the upper story of the west portal was also innovative and influential. Although small circular windows (oculi) within triangular tympana were common on the west facades of Italian Romanesque churches, this was probably the first example of a rose window within a square frame, which was to become a dominant feature of the Gothic facades of northern France (soon to be imitated at Chartres Cathedral and many others). These were also adopted at the cathedrals of Paris and Chartres, constructed a few years later, and became a feature of almost every Gothic portal thereafter.
Above the doorways, the central tympanum was carved with Christ in Majesty displaying his wounds with the dead emerging from their tombs below. Scenes from the martyrdom of St Denis were carved above the south (right hand) portal, while above the north portal was a mosaic (lost), even though this was, as Suger put it 'contrary to the modern custom'. Of the original sculpture, very little remains, most of what is now visible being the result of rather clumsy restoration work in 1. The portals themselves were sealed by gilded bronze doors, ornamented with scenes from Christ's Passion and clearly recording Suger's patronage with the following inscription; For the glory of the church which nurtured and raised him, Suger strove for the glory of the church, Sharing with you what is yours, oh martyr Denis.
He prays that by your prayers he should become a sharer in Paradise. The year when it was consecrated was the one thousand, one hundred and fortieth year of the Word. He wanted a choir (chancel) that would be suffused with light. To achieve his aims, Suger's masons drew on the several new elements which evolved or had been introduced to Romanesque architecture: the pointed arch, the ribbed vault, the ambulatory with radiating chapels, the clustered columns supporting ribs springing in different directions and the flying buttresses which enabled the insertion of large clerestory windows. It was the first time that these features had all been drawn together, and the style evolved radically from the previous Romanesque architecture by the lightness of the structure and the unusually large size of the stained glass windows.
Erwin Panofsky argued that Suger was inspired to create a physical representation of the Heavenly Jerusalem; however, the extent to which Suger had any aims higher than aesthetic pleasure has been called into doubt by more recent art historians on the basis of Suger's own writings. The new structure was finished and dedicated on June 1. King. Through the rule of the Angevin dynasty, the style was introduced to England and spread throughout France, the Low Countries, Germany, Spain, northern Italy and Sicily.
Both the nave and the upper parts of Suger's choir were replaced in the Rayonnant Gothic style. From the start it appears that Abbot Odo, with the approval of the Regent Blanche of Castille and her son, the young King Louis IX, planned for the new nave and its large crossing to have a much clearer focus as the French 'royal necropolis'. That plan was fulfilled in 1.
Carolingian monarchs to the south and 8 Capetians to the north. This new style, which differed from Suger's earlier works as much as they had differed from their Romanesque precursors, reduced the wall area to an absolute minimum.
Solid masonry was replaced with vast window openings filled with brilliant stained glass (all destroyed in the Revolution) and interrupted only by the most slender of bar tracery. The upper facades of the two much- enlarged transepts were filled with two spectacular 1. Although often attributed to Pierre de Montreuil, the only evidence for his involvement is an unrelated document of 1. Saint- Denis'. Denis and the French Revolution. The abbey, a symbol of the royals, was completely demolished in 1. The revolutionaries also severely damaged the church's sculptures, interior and graves.
Fortunately the many sepulchral monuments had been safely stowed away. The church was restored in the mid- nineteenth century by Viollet- le- Duc, the same architect responsible for the restoration of the Cathedral of Notre- Dame. Some monarchs, like Clovis I (4. The remains of Clovis I were exhumed from the despoiled Abbey of St Genevieve which he founded. The abbey church contains some fine examples of cadaver tombs. The effigies of many of the kings and queens are on their tombs, but their bodies were removed during the French Revolution. The ancient monarchs were removed in August 1.