Notre Dame Church Quotes

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.

But again that sense of peace descended, that spell of perfect happiness, and I was traveling back through the years to the little French church of my childhood as the hymns began. Through my tears I saw the shining altar. I saw the icon of the Virgin, a gleaming square of gold above the flowers; I heard the Aves whispered as if they were a charm. Under the arches of Notre Dame de Paris I heard the priests singing “Salve Regina.

But isn't this relic matter a little overdone? We find a piece of the true cross in every old church we go into, and some of the nails that held it together. I would not like to be positive, but I think we have seen as much as a keg of these nails. Then there is the crown of thorns; they have part of one in Sainte Chapelle, in Paris, and part of one, also, in Notre Dame. And as for bones of St. Denis, I feel certain we have seen enough of them to duplicate him, if necessary.

Love. This Soul, says Love, is flayed by mortification, and burned by the ardor of the fire of charity, and her ashes are strewn by the nothingness of her will upon the high seas. In prosperity she has the nobility of the well-born, in adversity the nobility of one exalted, in all places, whatever they be, the nobility of the excellent. She who is such2 no longer seeks God through penance or through any sacrament of Holy Church, not through reflections or words or works, not through any creature here below or through any creature there above, not through justice or mercy or the glory of glories, not through divine knowledge or divine love or divine praise.

Behold at a sign from heaven, because it comes from the Sun itself, those thousand churches trembling all at once. At first a faint tinkling passes from church to church...see how, all of a sudden, at the same moment, there rises from each steeple as it were a column of sound, a cloud of harmony. At first the vibration of each bell rises straight, pure, and in a manner separate from that of the others, into the splendid morning sky; then swelling by degrees, they blend, melt, intermingle, and amalgamate into a magnificent concert...this sea of harmony, however, is not chaos... This is truly an opera well worth listening to...In this case the city sings....Say if you know anything in the world more rich, more joyful, more golden, more overwhelming than that tumult of bells, than that furnace of music, than those ten thousand voices of bronze singing all at once from flutes of stone three hundred feet high, than that city which has become an orchestra, than that symphony which roars like a storm.

Reason. Ah, Lady Soul, says Reason, you have two laws, your own and ours; ours for belief and yours for love; and therefore you say to us what you please, and so you have called those whom we nurture7 fools and asses. The Soul. The men whom I call asses, says this Soul, seek God in creatures, through worshipping in churches, in paradises they create, in the words of men and in their writings. Ah, truly, says this Soul, in such men Benjamin is not born, for Rachel still lives8 in them; and Rachel must die at Benjamin’s birth, and till Rachel is dead Benjamin cannot be born. It seems to beginners that men such as these, who seek God in this way, up hill and down dale, think that God is subject to his sacraments and to his works. Alas, they suffer such trials that it is pitiful, 9 and they will go on suffering them, says the Soul, so long as they maintain this way of life and such practices. But those men spend their time well and profitably who do not worship God only in temples and in churches, 10 but worship him everywhere11 through union with the divine will.

H-22: Father Corby Monument 39º48.205’N, 77º14.063’W This monument honors the hundreds of chaplains present on the field in 1863. As chaplain of the Eighty-eighth New York Infantry of the famed Irish Brigade, Father William Corby, twenty-nine years old, has become as famous as many of those who actually bore arms those three fateful days. As the Irish Brigade formed up to enter the fight, Father Corby stepped onto a boulder—some historians believe the very boulder on which the monument stands—and raised his hand. Three hundred soldiers drew silent, many of them dropping to their knees, as the battle raged around them. The priest blessed them, prayed for their safety, and granted a general absolution, after which the troops marched into the fight. Corby’s admonition that the church would refuse a Christian burial for any man who failed to do his duty that day rang in their ears as they headed off. Following the war, Father Corby became president of the University of Notre Dame. A replica of this monument stands on the university’s campus, marking his grave. Years after the war, veterans of the Irish Brigade petitioned to have the Medal of Honor awarded to Corby, a request that was ultimately denied.

And then, on his soul and conscience, [Gringoire] ... was not very sure that he was madly in love with the gypsy. He loved her goat almost as dearly. It was a charming animal, gentle, intelligent, clever; a learned goat. Nothing was more common in the Middle Ages than these learned animals, which amazed people greatly, and often led their instructors to the stake. But the witchcraft of the goat with the golden hoofs was a very innocent species of magic. Gringoire explained them to the archdeacon, whom these details seemed to interest deeply. In the majority of cases, it was sufficient to present the tambourine to the goat in such or such a manner, in order to obtain from him the trick desired. He had been trained to this by the gypsy, who possessed, in these delicate arts, so rare a talent that two months had sufficed to teach the goat to write, with movable letters, the word “Phœbus.” “‘Phœbus!’” said the priest; “why ‘Phœbus’?” “I know not,” replied Gringoire. “Perhaps it is a word which she believes to be endowed with some magic and secret virtue. She often repeats it in a low tone when she thinks that she is alone.” “Are you sure,” persisted Claude, with his penetrating glance, “that it is only a word and not a name?” “The name of whom?” said the poet. “How should I know?” said the priest. “This is what I imagine, messire. These Bohemians are something like Guebrs, and adore the sun. Hence, Phœbus.” “That does not seem so clear to me as to you, Master Pierre.” “After all, that does not concern me. Let her mumble her Phœbus at her pleasure. One thing is certain, that Djali loves me almost as much as he does her.” “Who is Djali?” “The goat.” The archdeacon dropped his chin into his hand, and appeared to reflect for a moment. All at once he turned abruptly to Gringoire once more. “And do you swear to me that you have not touched her?” “Whom?” said Gringoire; “the goat?” “No, that woman.” “My wife? I swear to you that I have not.” “You are often alone with her?” “A good hour every evening.” Dom Claude frowned. “Oh! oh! Solus cum sola non cogitabuntur orare Pater Noster.” “Upon my soul, I could say the Pater, and the Ave Maria, and the Credo in Deum patrem omnipotentem without her paying any more attention to me than a chicken to a church.” “Swear to me, by the body of your mother,” repeated the archdeacon violently, “that you have not touched that creature with even the tip of your finger.” “I will also swear it by the head of my father, for the two things have more affinity between them. But, my reverend master, permit me a question in my turn.” “Speak, sir.” “What concern is it of yours?” The archdeacon’s pale face became as crimson as the cheek of a young girl.

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.

The presence of this extraordinary being caused, as it were, a breath of life to circulate throughout the entire cathedral. It seemed as though there escaped from him, at least according to the growing superstitions of the crowd, a mysterious emanation which animated all the stones of Notre-Dame, and made the deep bowels of the ancient church to palpitate. It sufficed for people to know that he was there, to make them believe that they beheld the thousand statues of the galleries and the fronts in motion. And the cathedral did indeed seem a docile and obedient creature beneath his hand; it waited on his will to raise its great voice; it was possessed and filled with Quasimodo, as with a familiar spirit. One would have said that he made the immense edifice breathe. He was everywhere about it; in fact, he multiplied himself on all points of the structure. Now one perceived with affright at the very top of one of the towers, a fantastic dwarf climbing, writhing, crawling on all fours, descending outside above the abyss, leaping from projection to projection, and going to ransack the belly of some sculptured gorgon; it was Quasimodo dislodging the crows. Again, in some obscure corner of the church one came in contact with a sort of living chimera, crouching and scowling; it was Quasimodo engaged in thought. Sometimes one caught sight, upon a bell tower, of an enormous head and a bundle of disordered limbs swinging furiously at the end of a rope; it was Quasimodo ringing vespers or the Angelus. Often at night a hideous form was seen wandering along the frail balustrade of carved lacework, which crowns the towers and borders the circumference of the apse; again it was the hunchback of Notre-Dame. Then, said the women of the neighborhood, the whole church took on something fantastic, supernatural, horrible; eyes and mouths were opened, here and there; one heard the dogs, the monsters, and the gargoyles of stone, which keep watch night and day, with outstretched neck and open jaws, around the monstrous cathedral, barking. And, if it was a Christmas Eve, while the great bell, which seemed to emit the death rattle, summoned the faithful to the midnight mass, such an air was spread over the sombre façade that one would have declared that the grand portal was devouring the throng, and that the rose window was watching it. And all this came from Quasimodo. Egypt would have taken him for the god of this temple; the Middle Ages believed him to be its demon: he was in fact its soul.

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)

Two hours later, at 11.22 p.m, a large bell started tolling: the 13-ton Gros Bourdon of Notre Dame – the first time that Priscilla had heard its F-sharp since 1940. Soon, other church bells rang out over the darkened rooftops. The sound reached the Hôtel Meurice where General Choltitz, Military Commander of Greater Paris, was speaking to Berlin. He held the telephone to the window just as, five years before, an English correspondent had raised her receiver to catch the grinding of German tanks crossing the Polish border. Choltitz explained: ‘What you are hearing is that Paris is going to be liberated and that Germany without doubt has lost the war.

landmarks were “a little shabby.” Half the gilding was gone from the dome of Les Invalides, where Napoleon was buried. The same was true of the pedestal of the Egyptian obelisk in the Place Vendôme and he was sorry to see so much of the statuary marred by black streaks. He spent considerable time at the Panthéon, which, he explained to Katharine, was not used as a church but as commemoration of the great men of France. The dome seen from inside was “not much,” he decided—too high in proportion to its diameter, like looking into an inverted well—but the interior was “very grand.” He took architecture seriously, thoughtfully, and made up his own mind, irrespective of whatever was said in his red Baedeker’s guidebook. Notre Dame was a disappointment. “My imagination pictures things more vividly than my eyes.” He thought the nave too narrow, the clerestory windows too high, the interior far too dark. “The pillars are so heavy and close together that the

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.

The archdeacon silently contemplated the gigantic building for a while, then sighed as he stretched out his right hand towards the printed book lying open on his table and his left hand towards Notre-Dame, and looked sadly from the book to the church. ‘Alas!’ he said, ‘this will kill that.

This presents us with a very serious situation. In a sympathetic but critical review of McClymond’s work, Roberto De La Noval, a professor of theology at Notre Dame, comes to the startling conclusion that a gap is opening up in the Christian churches between universalists and traditional Christianity and that what we are really facing is a conflict between “two different Gospels,”130 and that is certainly the case. We can’t avoid a choice. And in my opinion, those who choose against the traditional understanding of these matters are choosing a deception that only the devil will benefit from, a pernicious presumption on the mercy of God that will encourage countless souls to happily embark on the “broad way” that only leads to destruction. Painful decisions await many of us. It is time to stop straddling the issue. We have to make a choice, for Scripture and tradition or for a “different Gospel,” really, a

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.

Are these song books approved?” asked Darcy Puig, the regional Inclusiveness Inspector. About 24 and a recent graduate of Notre Dame, where she had majored in Oppression Studies, she had come to Jasper’s First Baptist Church as part of her regular inspections of licensed religious organizations. She was squat and had dyed black hair cut in a bowl shape. A stainless steel spike protruded from her lower lip.

I'm not a religious believer, yet despite that I go to church. I love the architecture, the music, the words of the Bible, and the sense of sharing something profound with other people. I have long found deep spiritual peace in the great cathedrals, as do many millions of people, believers and nonbelievers alike.

Of an August day in Paris the choice hour is from six to seven in the evening. The choice promenade is the Seine between the Pont Alexandre III and the Pont de l'Archevêché. If one walks down the quays of the Rive Gauche toward Notre-Dame first, and then turns back on the Rive Droite, he has the full glory of the setting sun before him and reaches the Place de la Concorde just in time to get a glimpse up the Champs Élysées toward the Arc de Triomphe as the last light of day is disappearing. I am not yet old enough to have taken this walk a thousand times, but when I have I am sure that it will present the same fascination, the same stirring of soul, the same exaltation that it does to-day. Choose, if you will, your August sunset at the seashore or in the mountains. There you have nature unspoiled, you say. But is there not a revelation of God through animate as well as inanimate creation? If we can have the sun going down on both at the same time, why not? Notre-Dame may be surpassed by other churches, even in France. But Notre-Dame, in its setting on the island that Is the heart and center of this city, historically and architecturally that high water mark of human endeavor, cannot be surpassed. Standing on the bridge between the Morgue and the Ile St-Louis, and looking towards the setting sun, one sees the most perfect blending of the creation of God and the creation of the creatures of God that the world affords. And it is not because I have not seen the sunset from the Acropolis, from the Janiculum, from the Golden Horn, and from the steps of El Akbar, that I make this statement. Athens, Rome, Constantinople, Cairo- these have been, but Paris is.

queenly heads on churches of this period in the area – at Langon’s Notre-Dame du Bourg, heads from the south wall of the choir are frequently said to represent portraits of Eleanor and Henry. But others exist at Saint-Andre in Bordeaux and in Notre-Dame de Saintes, where Eleanor’s aunt was abbess.

You know, that’s what I’ve always wanted this place to be,” he said. “I look across at Notre Dame and I sometimes think the bookstore is an annex of the church. A place for the people who don’t quite fit in over there.