Plans for modern monstrosity in venerable cathedral’s forecourt

MORE BAD NEWS from Chartres. Fresh from the completion of a controversial and much criticised renovation of the ancient cathedral’s interior, le Salon Beige reports the city has unveiled plans to tear up the parvis in front of the cathedral and replace it with a modernist “interpretation centre”.

The original parvis (or forecourt) was much smaller than the one we know today. Between 1866 and 1905 the majority of the block of buildings in front of the cathedral, including most of the old Hôtel-Dieu, were demolished to give a wider view of the cathedral’s west façade and its “Royal Portals”.

After the war various plans to tart the place up were made and variously foundered — from a modest alignment of trees in the 1970s to Patrick Berger’s plan for an International Medieval Centre. More recently the gravelly space was unsuccessfully “improved” by the addition of boxes of shrubbery placed in a formation that, jarringly, fails to align with the portals of the cathedral.

The proposed “interpretation centre” designed by Michel Cantal-Dupart — at a projected cost of €23.5 million — destroys the gentle ascent to the cathedral and indeed reverses it. At a projected cost of €23.5 million, a giant slab juts apart as if displaced by an earthquake. The paying tourist is invited down into its infernal belly while others prat about on the slab’s upwardly angled roof, ideal for gawking at the newly commodified beauty of this medieval cathedral. It is practically designed for Instagramming, rather than reflection and contemplation.

As you would imagine, reaction has been strong. Michel Janva, writing at le Salon Beige, says the project “plans to imprison the cathedral” and “will disappoint not only pilgrims on their arrival, but also inhabitants and tourists”.

In the Tribune de l’Art, Didier Rykner is damning: “All this is purely and simply grotesque.” The sides of the centre, he points out, will be glazed to allow in natural light, but this will both interfere with multimedia displays and be bad for the conservation of fragile works of art. “This architecture, which looks vaguely like that of a parking lot, is frighteningly mediocre, and this in front of one of the most beautiful cathedrals of the world.”

Rykner attributes blame for the “megalomaniac and hollow project, expensive and stupid” at the doors of the mayor of Chartres, Jean-Pierre Gorges, who he argues has allowed much of the rest of the city’s artistic and architectural heritage to go to rot while devoting resources to this pharaonic endeavour.

Having walked from Paris to Chartres myself I can imagine how much this proposal will injure the experience for pilgrims. After three days on the road, to arrive at Chartres, stand in the parvis, and gaze up at this work of beauty, devotion, and love for the Blessed Virgin is a profound experience. If constructed, this plan would deprive at least a generation or two from having this experience. (But only a generation or two, for it is simply unimaginable to think this building will not be demolished in the fullness of time.)

Chartres is part of the patrimony of all Europe and one of the most important sites in the whole world. For it to be reduced to the plaything of some momentary mayor is a crime. With any luck, the good citizens of Chartres, of France, and of the world will put a stop to this monstrosity. (more…)

A full decade before Ireland joined the E.E.C., cartoonist J.M. McCarthy filed this vision of the Irish capital’s cosmopolitan future in a 1962 issue of Dublin Opinion.

The scene is Henry Street — renamed “Henri” of course — leading up to Nelson’s Pillar in O’Connell Street and the wags show dear old dirty Dublin transformed into a polyglot European capital.

Advertisements and shop signs are in every language (except Irish), the Gardaí have adopted a képi as their headgear, the currency is the “common mark”, and a stylish young woman with bare arms steals the show and sets the tone.

The European Economic Community finally admitted Ireland as a member in 1973, by which time Nelson had be blown up and Dublin Opinion ceased publication.

Areas shaded in orange are the counties of New York with Dutch-influenced flags

Natives and outsiders alike are often surprised when it’s pointed out just quite how much New York continues to be influenced by its Dutch foundation to this day, even though Dutch rule ended in the seventeenth century.

Previously I explored a number of local or regional flags in the state of New York that show signs of Dutch influence: those of the cities of New York and Albany, the Boroughs of Manhattan, Brooklyn, the Bronx, and Queens, and the counties of Westchester, Nassau, and Orange.

I’ve since found a few more counties to add to our survey of Dutch flags in the Empire State.

Dutchess County

One of the original counties of New York established in 1683, Dutchess retains the archaic spelling of Mary of Modena’s title while she was Duchess of York. Appropriately for a county that was until very recently largely agricultural, the county seal depicts a sheaf and plough, and sits on the county’s flag with its horizontal tricolour of orange, white, and blue.

Ulster County

Across the Hudson from Dutchess County is Ulster, another of New York’s first counties. Its handsome seal features an early farmer wielding a sickle in front of a sheaf and a farmhouse, with the year of the county’s erection proudly included. The Dutch had begun to trade here as early as 1614, and the village of Wiltwijck was given municipal status by Peter Stuyvesant in 1663. Wiltwijck became Kingston in 1669 and remains a very handsome town today.

Schenectady County

The county of Schenectady is of later origin, 1809, and became industrialised in the latter half of the nineteenth century — the General Electric Company was founded here in 1892. Like Ulster and Dutchess, the county flag is just the seal displayed on an orange-white-blue tricolour.

The seal is a relatively boring depicting of crossed swords combined with the scales of justice, but on the flag it is depicted with a locomotive, canal boat, broomhead, and lightning bolt and atom.

Instagram: @andcusack

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