Up close to the masterpieces of Notre-Dame

Paris. This is what we could call a positive collateral effect. The dramatic fire at Notre-Dame de Paris in 2019 has indeed allowed us to take a renewed interest in the rich collections contained in the cathedral. Who, with the exception of specialists, could in fact cite the names of the painters exhibited in the famous Parisian monument? However, within its walls are the cream of French art of the Grand Siècle, starting with Charles Le Brun and Laurent de La Hyre. They are, among others, among the masters who created the “mays”, that is to say, the immense paintings offered to the cathedral every first of May by the brotherhood of goldsmiths of the capital. It must be said, in the public’s defense, that their dirt and poor presentation in the building did not facilitate the aesthetic encounter. Poorly hung and poorly lit, they went almost unnoticed, even though certain paintings are among the most beautiful pages in the history of French painting from the reigns of Louis XIII and XIV. Their (re)discovery is thus a revelation for many art lovers and curious people. Their reunion actually generates a real shock thanks to their dazzling hues, bright colors, one of the functions of which was precisely to liven up the immaculately white nave. We must see the enthusiastic reaction of visitors to these monumental paintings, enhanced by the ambitious restoration which has just been completed, and their impeccable hanging in a Gobelins gallery, elegantly adorned with royal blue picture rails to the best effect. And, icing on the cake, provided with perfect mediation which is aimed at everyone, without being too intrusive either. We must therefore take advantage of them because obviously we will never again be able to admire them so closely and in such ideal conditions.

We would have liked to say the same about the large choir carpet, the presentation of which is, to say the least, perplexing. If its restoration is remarkable, the fact of showing only half of it, for reasons of space, gives the whole thing a very strange appearance. Just like the presentation of the vast tapestries which seem well nestled in the stairwell and the rooms upstairs. Too bad because their return among these works and objects is quite simply an exceptional event: the tapestries have left the cathedral since the 18th century. This reunion therefore deserved better than this failed clash.