Notre Dame Cathedral Paris Quotes

Just imagine! In the early nineteenth century, this cathedral was in such a state of disrepair that the city considered tearing it down. Luckily for us, Victor Hugo heard about the plans to destroy it and wrote The Hunchback of Notre-Dame to raise awareness of its glorious history. And, by golly, did it work! Parisians campaigned to save it, and the building was repaired and polished to the pristine state you find today.

In 1450, a pack of wolves killed and ate forty people in the middle of Paris. The leader of the wolves was called Courtaud (which translates as ‘Bobtail’) and was said to be a deep red in colour. The wolves were lured into the heart of the city and were speared and stoned to death in front of Notre Dame Cathedral.

He lifted his hands, indicating the garden canopy, the silver-grassed mountain on the other side of the valley, the white-trunked gums. "This is my church. My dad used to talk about places overseas, like St. Paul's Cathedral in London, the Notre-Dame in Paris---places he'd read about in books and wanted to see. But I always felt most connected when I was outside; not just surrounded by nature, but intrinsic to it, a tiny part of a system much larger than I was. Reverence. Grace. Meaning. Purpose. I feel those things when I'm working. Nature is my cathedral.

That there is struggle and inequality even in beauty, and war for power and supremacy: that doth he here teach us the plainest parable. How divinely do vault and arch here contrast in the struggle: how with light and shade they strive against each other, the divinely striving ones. — This is a clear description of the Gothic cathedral where you really feel that life itself has become congealed-one could say it was congealed life. It is often compared to a wood or to the branches of a tree; all sorts of animals run up and down those columns and spires. It is wood that has become stone, or spirit that has become incorruptible matter, and the architecture symbolizes the struggle from which it arose. One sees the struggle itself represented in Norman art, in those manifold representations of the fight between man and monsters, particularly. In the Gothic cathedral this conflict is fully developed and fully represented in the enormous height and depth, in the light and the shadow, and in the extraordinary complication of all those architectural forms melting into each other, or fighting one another. It is also expressed in the peculiar arches built outside the church to support the walls inside; it gives one the idea of tremendous tension, of a thing that is almost bursting. When you look, for instance, in Notre Dame in Paris, at the tension of the walls inside supported by the arches, you realize how daring the whole enterprise was-to catch so much spirit in matterand what they had to do in order to secure it. There is no such thing in the Norman cathedrals; they are really made of stone, while in the Gothic cathedrals one begins to doubt the weight of the stone. And a little later one sees the same peculiarity in sculpture. In the cinquecento sculpture of Michelangelo and the later men, they seemed to deny the immobility of the stone; up to that time, stone had been practically immovable, even Greek sculpture, but with Michelangelo, the stone began to move with a surplus of life which is hardly believable. It seems as if it either were not stone or as if something wrong had happened. There is too much life, the stone seems to walk away. It begins to move till the whole thing falls asunder. You see, that is what Nietzsche is describing here. He calls them the divinely striving ones that are no longer striving; they have congealed, they have come to rest. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 1109-1110)

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

Teodor’s wife. They were planning to spend some of the summer in France, were they not?” France. Luca had studied in France. Cass had to stop thinking of Luca or she would go mad. She forced herself to concentrate on Madalena’s face. “Is that right?” she mustered. “I’ve heard France is lovely.” “Yes. She and her husband have been exploring Paris.” Mada smiled. “Her letter goes on and on about the Notre Dame cathedral. Apparently it has the most breathtaking stained-glass windows.” “Notre Dame,” Marco mused. “Have you seen it, Signore?” He turned to Madalena’s father. “I have, indeed,” Signor Rambaldo said. “A stunning piece of architecture. Though to be fair, Venice has her share of beautitful structures as well.” “Is it true,” Marco went on, “that there are catacombs beneath Notre Dame’s courtyard? Ruins of the original settlement built by the Celts?” “I have heard that. Crumbling walls, broken swords, perhaps some ghosts trolling the place looking for their bones.” Signor Rambaldo rubbed his beard thoughtfully. Madalena flung down her fork. “Both of you ought to be ashamed,” she cried out. “I’ve been trying to distract Cass from morbid thoughts, and you two turn a lovely conversation about Paris into a ghost story.

I did finally make it to Paris, in June of 2010. And though most tourists go straight to the Eiffel Tower or the Louvre, or to Notre-Dame Cathedral, I headed for the chipped blue door of 74 rue du Cardinal Lemoine, Hadley and Ernest’s first apartment in the Latin Quarter. The

Notre-Dame’s neighborhood has of course vastly improved since Victor Hugo’s day, although Bishop Sully certainly would not recognize Baron Haussmann’s vastly expanded parvis. Still, if you can catch a glimpse of Notre-Dame’s spire from the ancient Rue des Chantres or Place Maubert, and then follow the narrowest lanes you can find to the great cathedral’s western portals, you will be treading the path that countless medieval students and clerics have taken before you. And then look up, and up, relishing this direct link with a distant past. Here is Notre-Dame, the noble survivor of the centuries. Here is Notre-Dame—truly a cathedral for the ages.

Many years ago, in the spring of 1974, I visited the cathedral of Notre Dame in Paris. There were not many people around, and it was quiet and still inside. I gazed in silent awe at the great Rose Window, glowing in the morning sun. All at once the cathedral was filled with a huge volume of sound: an organ playing magnificently for a wedding taking place in a distant corner. Bach’s Toccata and Fugue in D Minor. I had always loved the opening theme; but in the cathedral, filling the entire vastness, it seemed to enter and possess my whole self. It was as though the music itself was alive.

Napoleon became emperor of the French, inviting the Pope to crown him in the cathedral of Notre Dame in Paris, but famously putting the crown on his own head at the last minute in a sign that he was in control not only of France, but also of his own destiny.

Dante, in The Inferno, “places usurers in the third ring of the seventh circle, a place worse than the one reserved for blasphemers and sodomites”.69 Worldly repayment possibilities for “time” also existed, however. The cathedral of Notre Dame in Paris was built by funds donated to the church by a wealthy usurer who was urged to do so by the bishop of Paris as a means of saving his soul.

Notre-Dame Cathedral is a magnificent sacred palace.

The Cult of Reason sprang up all over France in 1793 and was even worshipped in the Cathedral of Notre Dame. After the Bishop of Paris resigned, proclaiming his previous error of supporting Christianity, the Goddess of Reason, impersonated by an actress of wealthy means, took his place at the altar. She sat under a baldachino holding the new symbols of power, while all around her danced Jacobins in various states of religious, revolutionary and reasoned ecstasy.

And we stand there. Singing the cathedral down.

The cathedral of Notre-Dame de Paris, and most of the great Gothic churches that are still the most beautiful buildings in the cities of Europe, were erected in the Middle Ages, a time marked by violence, famine, and plague. The construction of a cathedral was a huge enterprise lasting decades.

It was up to him to solve the unknown variables and balance the equation. Everything in life was an equation, and unbalanced equations set off chain reactions and became chaos. In a perverse sense, he considered himself a bookkeeper, maintaining the ledgers of madness that mankind perpetually unleashed on itself and the world at large. When the books were balanced, a fragile sort of peace persisted until the tireless agents of entropy began their work anew. What is peace but war held in check? What is life but entropy held at bay? He could not remember when the thought first occurred to him that good and evil could be—must be—understood in mathematical terms. Entropy is the true devil in the universe, not some cackling, fiery satyr with horns and a pitchfork. Entropy is the great destructor, the root of all disorder and chaos. What are the seven deadly sins, if not a failure to resist the decay of one’s moral fiber? What is war, if not an alliance with entropy to bring chaos and destruction to an ordered world? It took 182 years to build Notre Dame de Paris—182 years of effort, energy, and discipline to construct a magnificent cathedral from sand, wood, and stone unhewn. But with only one Mark 83 general-purpose bomb, this beautiful triumph over entropy could be reduced to rubble. Would the bombing of Notre Dame be a sin, even with no human casualties? Yes, because the very existence of such a structure in the universe is good.

Abelard had been disgraced as a young man when he was master of the cathedral school of Notre-Dame in Paris: in 1115–16 he took a part-time job as tutor to a girl called Heloïse, the nieces of one of the cathedral canons. Unfortunately, in the course of teaching Heloïse, Abelard seduced her, got her pregnant (with a son whom she would name Astrolabe),* married her, and then sent her to live in a nunnery. In return for this, Heloïse’s irate uncle accosted Abelard and brutally castrated him. Fortunate to survive the ordeal, Abelard retired to live as a monk at the abbey of Saint-Denis, although he was later forced to leave, having wound up his fellow monks one too many times with his deliberately provocative behavior and opinions. He lived for a time as a wandering hermit, and gave public lectures on theology in the streets of Paris.