| Cathedral of Saint Peter of Beauvais Cathédrale Saint Pierre (French) |
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Beauvais Cathedral from SE. |
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| Basic information | |
| Location | Beauvais, France |
| Affiliation | Roman Catholic |
| Region | Picardie |
| Province | Diocese of Beauvais |
| Year consecrated | 1272[1] |
| Ecclesiastical or organizational status | Cathedral |
| Status | Active |
| Heritage designation | 1840 |
| Leadership | Jacques Benoit-Gonnin[2] |
| Website | www.cathedrale-beauvais.fr |
| Architectural description | |
| Architect(s) | Enguerrand Le Riche Martin Chambiges[1] |
| Architectural type | Church |
| Architectural style | French Gothic |
| Groundbreaking | 1225[1] |
| Completed | Never completed. Works halted in 1600.[1] |
| Specifications | |
| Length | 72.5 metres (238 ft) |
| Width | 67.2 metres (220 ft) |
| Width (nave) | 16 metres (52 ft) |
| Height (max) | 48.5 metres (159 ft) (nave) |
| Monument historique | |
| Official name: Cathédrale Notre-Dame | |
| Designated: | 1840 |
| Reference #: | PA00114502[3] |
| Denomination: | Église |
The Cathedral of Saint Peter of Beauvais (French: Cathédrale Saint-Pierre de Beauvais) is an incomplete Roman Catholic cathedral located in Beauvais, in northern France. It is the seat of the Bishop of Beauvais, Noyon and Senlis. It is, in some respects, the most daring achievement of Gothic architecture, and consists only of a transept (sixteenth-century) and choir, with apse and seven polygonal apsidal chapels (thirteenth century), which are reached by an ambulatory.
The small Romanesque church of the tenth century, known as the Basse Œuvre, much restored, still occupies the site destined for the nave.
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Work was begun in 1225[4] under count-bishop Miles de Nanteuil, immediately after the third in a series of fires in the old wooden-roofed basilica, which had reconsecrated its altar only three years before the fire; the choir was completed in 1272, in two campaigns, with an interval (1232–38) owing to a funding crisis provoked by a struggle with Louis IX. The two campaigns are distinguishable by a slight shift in the axis of the work and by what Stephen Murray characterizes as "changes in stylistic handwriting."[5] Under Bishop Guillaume de Grez,[6] an extra 4.9 m was added to the height, to make it the highest-vaulted cathedral in Europe. The vaulting in the interior of the choir reaches 48 m in height, far surpassing the concurrently constructed Cathedral of Notre-Dame in Amiens, with its 42-metre (138 ft) nave.
The work was interrupted in 1284 by the collapse of some of the vaulting of the recently completed choir. This collapse is often seen as a disaster that produced a failure of nerve among the French masons working in Gothic style; modern historians have reservations about this deterministic view. Stephen Murray notes that the collapse also "ushers in the age of smaller structures associated with demographic decline, the Hundred Years War, and of the thirteenth century."[7]
However, large-scale Gothic design continued, and the choir was rebuilt at the same height, albeit with more columns in the chevet and choir, converting the vaulting from quadripartite vaulting to sexpartite vaulting.[8] The transept was built from 1500 to 1548. In 1573, the fall of a too-ambitious 153-m central tower stopped work again. The tower would have made the church the second highest structure in the world at the time (after St. Olaf's church, Tallinn). Afterwards little structural addition was made.
The choir has always been wholeheartedly admired: Eugène Viollet-le-Duc called the Beauvais choir "the Parthenon of French Gothic."
Its façades, especially that on the south, exhibit all the richness of the late Gothic style. The carved wooden doors of both the north and the south portals are masterpieces, respectively, of Gothic and Renaissance workmanship. The church possesses an elaborate astronomical clock in neo-Gothic taste (1866) and tapestries of the 15th and 17th centuries, but its chief artistic treasures are stained glass windows of the 13th, 14th, and 16th centuries, the most beautiful of them from the hand of Renaissance artist Engrand Le Prince, a native of Beauvais. To him also is due some of the stained glass in St-Etienne, the second church of the town, and an interesting example of the transition stage between the Gothic and the Renaissance styles.
During the Middle Ages, on January 14, the Feast of Asses was annually celebrated in Beauvais cathedral, in commemoration of the Flight into Egypt.
In the race to build the tallest cathedral in the 13th century, the builders of Saint-Pierre de Beauvais pushed the technology to the limits. Even though the structure was to be taller, the buttresses were made thinner in order to pass maximum light into the cathedral. In 1284, only twelve years after completion, part of the choir vault collapsed, along with a few flying buttresses. It is now believed that the collapse was caused by resonant vibrations caused by high winds.[9]
The accompanying photograph shows lateral iron supports between the flying buttresses; it is not known when these external tie rods were installed. The technology would have been available at the time of the initial construction, but the extra support might not have been considered necessary until after the collapse in 1284, or even later. In the 1960s, the tie rods were removed; the thinking was that they were disgraceful and unnecessary. However, the oscillations created by the wind became amplified, and the choir partially disassociated itself from the transept. Subsequently, the tie rods were reinstalled, but this time with rods made of steel. Since steel is less supple than iron, the structure became more rigid, possibly causing additional fissures.[10]
As the floor plan shows, the original design included a nave that was never built. Thus, the absence of shouldering support that would have been contributed by the nave contributes to the structural weakness of the cathedral.
With the passage of time, other problems surfaced, some requiring more drastic remedies. The north transept now has four large wood and steel lateral trusses at different heights, installed during the 1990s to keep the transept from collapsing (see photograph). In addition, the main floor of the transept is interrupted by a much larger brace that rises out of the floor at a 45-degree angle.[11] This brace was installed as an emergency measure to give additional support to the pillars that, until now, have held up the tallest vault in the world.
These temporary measures will remain in place until more permanent solutions can be determined. Various studies are under way to determine with more assurance what can be done to preserve the structure. Columbia University is performing a study on a three-dimensional model constructed using laser scans of the building in an attempt to determine the weaknesses in the building and remedies.[12]
Several of the chapels contain medieval stained glass windows made during the 13th through 15th centuries. In a chapel close to the northern entrance, there is a medieval clock (14th - 15th century), probably the oldest fully preserved and functioning mechanical clock in Europe. In its vicinity, a highly complicated astronomical clock with moving figures was installed in 1866.